Cosmetically, Carvin guitars & basses were sporting new colors and a new headstock design. But most significantly, this was the year Carvin instruments were first built using neck-thru construction. Rather than having a neck that was glued in or bolted on, the wood that the neck was shaped from was cut extra long, and the body "wings" were then glued along the sides. This arrangement was very stable and allowed for excellent sustain, as the nut and bridge were both attached to the same piece of wood. A new 6-inline headstock was added, but the traditional 3 X 3 and V headstocks were still available as options on all single-neck models, as was a reverse inline headstock, and a bizarre 12-string pointed inline headstock. New pearl finishes were added, including Pearl Purple, Pearl Yellow, Light Pearl Blue and Pearl Green. Translucent blue, yellow, red, and green were added to a flamed maple top. Original Floyd Rose tremolos were added in addition to the Kahler models (only the Kahler Pro was offered now; the Flyer had been discontinued). Metal knobs were also standard on all models except the DC150. Lastly, the semi-hollow SH225 began to make it's exit - it wasn't shown in the catalog, but was still available.

Carvin guitars got a new standard fixed bridge in 1988 - the LP6. Only the 12-string models continued to use the N12 tailpiece and TB12 bridge that had been used since 1983. This bridge would only be standard in 1988, and would be replaced by the 2-piece Gibson-style tune-o-matic bridge with stopbar tailpiece. Like other hardware, it was available in chrome (standard), gold or black chrome. The FTB6 was still offered in the parts department, and presumably was still standard on the SH225.

The DC125 single pickup guitar, with an M22SD pickup, single volume control and coil splitter was still popular in its 3rd year of production. Like all Carvins, it was constructed of Eastern hard rock maple, with ebony fingerboard (a clear maple fingerboard was optional). Chrome hardware was standard, as was MOP dot inlays. Floyd Rose or Kahler tremolos were optional. Base price on the DC125 was $399, plus $60 for the HC11 hardshell case. The catalog photo showed a DC125 in Light Pearl Blue, with Floyd Rose trem and black hardware.

The DC135 was the same design as its predecessor, with a single M22SD pickup and a pair of H11 stacked humbuckers. It had a single volume and tone control, and 3 on/off mini switches (for each pickup). Chrome hardware was standard, as was MOP dot inlays. Floyd Rose or Kahler tremolos were optional. Base price on the DC135 was $499, plus $60 for the HC11 hardshell case. The catalog photo showed a DC135 in Black, with Kahler Pro trem and gold hardware.

The 2nd-generation Ultra V had new cosmetic changes, in addition to the new neck-thru design. The body edges were beveled, versus the straighter edges of the '87 model, which gave an even sleeker, more aggressive look. It had all the features and options of other Carvin guitars, with the exception of left-handed models, maple fingerboard, and 3X3 headstock. Electronics consisted of an M22 in the neck position, and an M22SD in the bridge position, with single volume and tone controls. Base price on the Ultra V was $439, and the HC19 hardshell case was $79. The catalog photo showed an Ultra V in black, with Floyd Rose tremolo and black hardware.

The V220 enjoyed all the new features and options offered in 1988, and continued to be very popular. Construction materials and techniques were the same as other Carvin models, including neck-thru design, rock maple body and neck, ebony fingerboard and MOP inlays. It was also available with a maple fingerboard, and with the new 6-inline headstock. Electronics consisted of an M22 in the neck position, and an M22SD in the bridge position, with dual volume/single tone controls, pickup selector, and coil splitters. Base price on the V220 was $469, plus $79 for the SC19 hardshell case. The catalog photo showed a V220 in white, with Kahler Pro trem and black hardware.

The venerable DC150 Stereo retained it's basic look from previous years, with it's traditional headstock and vintage-style plastic knobs. However, it could now be ordered with a V or 6-inline headstock. Pickups were changed to the H11 stacked humbuckers, but the M22's could be ordered as an option. The stereo electronics included dual volume and tone controls, pickup selector, and phase and coil switches. Base price on the DC150 Stereo was $499, and the HC10 hardshell case was $60. The catalog photo showed a DC150 in clear finish with black hardware.

The DC200 Koa gave the best view of the new neck-thru design - the 2-piece maple neck was clearly visible with the koa body wings. Electronics consisted of standard stereo wiring, and a pair of M22 pickups with dual volume/tone controls, pickup selector, and coil/phase mini-switches. MOP block inlays were standard, but dot inlays could be ordered, as could the traditional or V headstocks. Base price on the DC200 Koa was $599, plus $60 for the HC11 case. The catalog photo showed the DC200 with standard bridge and optional gold hardware.

The DC200 Stereo was identical to it's koa counterpart, with the exception of the finish. Electronics consisted of standard stereo wiring, and a pair of M22 pickups with dual volume/tone controls, pickup selector, and coil/phase mini-switches. MOP block inlays were standard, but dot inlays could be ordered, as could the traditional or V headstocks. Base price on the DC200 Stereo was $559, plus $60 for the HC11 case. The catalog photo showed the DC200 Stereo in Pearl Red, with Floyd Rose tremolo and black hardware. TheDC120 was a twelve string version of the DC200 Stereo, with a traditional 6 X 6 headstock standard. Dot inlays were standard, as were H11 stacked humbuckers. Otherwise, it was the same as the DC200. Base price was $579.

The DC400 Stereo was the top of the line model for 1988, and it showed the direction Carvin's Custom Shop was moving in. Instead of a solid painted or natural gloss finish, the DC400 had a standard flamed maple top and choice of translucent finishes. Although curly maple (also known as quilted maple) had been offered on limited models in the past, this was the first time a figured wood could be combined with a translucent finish. Electronics were the same as the DC200 Stereo, and it could also be ordered with the electronics package of the DC135. Abalone block inlays were standard, as were any choice of hardware color. Base price on the DC400 Stereo was $799, and the HC11 hardshell case was $60. The catalog photo showed the DC400 Stereo in translucent yellow, with Kahler Pro tremolo and black hardware.

Like the DC120, the DN612 doubleneck sported one of the most unusual features ever seen on a Carvin guitar - the 12-inline headstock, which was standard along with a 6-inline headstock. This one feature made this guitar instantly recognizable as a Carvin, but traditional 6 X 6 and 3 X 3 headstocks were available if desired. The upper horn was longer than the DC200 to balance out the extended headstock (in previous years the DN shared the same dimensions), and the 12-string neck used the older Schaller bridge/tailpiece combination. Electronics consisted of dual H11 stacked humbuckers on the 12-string, and one M22 and one H11 on the 6-string. Each neck had single volume and tone controls, phase switch, and dual coil/single coil/off switch for each pickup. The DN640 featured the same configuration, with H13B pickups on the bass neck. On both models, there was an input for each neck. Base price on the DN612 and DN640 was $1099, and the HC15 case was $89. The catalog photo showed the DN612 in black, with optional abalone block inlays, Kahler Pro tremolo and gold hardware.

The ad in the 1988 Catalog Gallery above features Vicki Peterson of The Bangles with a Pearl Purple DC125. It appeared in a 1988 issue of Guitar for the Practicing Musician.

The LB70 bass was reintroduced as a replacement to the LB60 to become the flagship Carvin bass. At 9.5 pounds, it was light and extremely well-balanced, despite the longer neck. Electronics consisted of dual H13B stacked humbuckers, dual volume/tone controls, coil splitters, phase switch and 3-way pickup selector. The LB70 started at $519, plus $69 for the case. For the first time, a Kahler bass tremolo was offered for an additional $150. Also for the first time, Carvin also offered a 5-string model, the LB75 bass. The LB75 offered the same features and options as the LB70, with the exception of the "V" headstock, and fretless neck. The Kahler bass tremolo was offered, but a left-handed LB75 was not. The LB75 started at $599, plus $69 for the case. The LB70 was shown in koa with chrome hardware, and the LB75 was shown in Pearl White with black hardware.

The LB90 bass was Carvin's "entry-level" bass for '88. Despite costing less then the LB70, it still sported the same pro features, but with mono electronics (single volume and tone controls, and no phase switches, mono output). The "V" headstock was standard, but the inline headstock could be ordered as an option. Carvin also offered the LB95, which was a 5-string version with an inline headstock. It was not shown in the catalog. The body of both these models was a more rounded style, versus the DC200 inspired body on the LB70 and LB75. The LB90 could be ordered fretless, but not the LB95, and neither model was available in a left-handed version. The LB90 base price was $469, and the LB95 base price was $549. The catalog showed the LB90 in Jet Black.

In addition to the other bass models, Carvin introduced the DN440 doubleneck bass, which was also available as the DN640 guitar/bass. The model shown in the catalog is a fretless/fretted, with a Kahler bass tremolo (a $150 option) and finished in Pearl White. This model would stay the same for 1989, and have a new control configuration for 1990. The photo shown in the catalog was the only photo of a DN440 that appeared in any Carvin catalog throughout the run of the model. The base price on the DN440 was $1099 (as was the DN640 guitar/bass), and the HC15 hardshell case was $89.

This DN440T is part of the Curator's collection. It was originally ordered by Steven McDonald, the bassist of Redd Kross, at the Carvin Hollywood store in November of 1987. It's finished in pearl purple, has fretted and fretless necks, and a Kahler Pro bass tremolo on the fretted neck. As part of the Curator's collection, it was featured in Vintage Guitar magazine in January 2009. Click the picture below for a larger version of the VG article. You can also see the original invoice right here.

This bass was also featured in the video for "Annie's Gone", the 1990 release by Redd Kross. The Carvin logos on the headstocks were taped over in the video, presumably because Steven McDonald had an endorsement deal with another manufacturer (possibly BC Rich, since the logo on the white Warlock in the video isn't covered). On a related note, the actress in the video is Ann Magnuson.