Jackson Wes Borland King V: The Factory Reject That Became Jackson’s Most Stripped-Down Signature


Jackson Pro Series Wes Borland King V KV in black gloss with white bevels, front view

Wes Borland picked up a left-handed King V from Jackson’s factory reject pile, flipped it over, strung it for right-hand playing, and used it onstage with Limp Bizkit for years. Jackson has finally turned that accident into a proper signature model: the Pro Series Signature Wes Borland King V KV, priced at $1,299.99 and already sold out at most retailers.

The Reject That Built an Aesthetic

Jackson Wes Borland King V reverse headstock with upside-down logo and white binding
Photo: Jackson Guitars

The backstory is pure Borland. Jackson’s artist rep Mike Tempesta introduced him to some Custom Shop guitars, and Borland gravitated toward a left-handed King V that nobody else wanted. He converted it for right-hand playing, which left the Jackson headstock logo reading upside down. Jackson’s product development manager Peter Wichers called it “a happy accident” that “became one of the most iconic details of the whole build,” according to Guitar.com.

That flipped orientation also reversed the shark fin inlays, giving the fretboard a distinctly off-kilter look that Borland kept deliberately. The upside-down aesthetic became part of his visual identity alongside the face paint, costumes, and contact lenses that made him one of nu-metal’s most recognizable performers.

One Pickup, One Volume Knob, Nothing Else

Jackson Wes Borland King V body angle showing Seymour Duncan Invader pickup and recessed Floyd Rose
Photo: Jackson Guitars

Borland’s design philosophy for this guitar is blunt. “You just need volume, pickups, a locking tremolo system, and 24 frets,” he told Guitar World. “That’s it.”

A single Seymour Duncan SH-8 Invader sits in the bridge position. No neck pickup. No tone control. The Invader is one of the highest-output passive humbuckers Seymour Duncan makes: a ceramic magnet and overwound coils push massive low-end chunk and cutting high-frequency clarity. For Borland’s heavily down-tuned, effects-laden approach, the Invader’s raw aggression is a deliberate choice over the more refined pickups found in most signature models at this price.

The single volume knob is the only electronic control on the guitar. Fewer controls means fewer things to bump during Limp Bizkit’s notoriously physical live shows, and fewer potential failure points on the road. Borland told MusicRadar that streamlined guitars simply create fewer stage problems, a philosophy that shows in every decision on this instrument.

Neck-Through Build With Stage-Proven Hardware

The neck is a one-piece maple construction that runs through the entire nyatoh body, reinforced with graphite rods for stability under heavy string tension and temperature swings. Jackson topped it with an ebony fingerboard sporting a 12″ to 16″ compound radius and 24 jumbo frets, giving players a flatter surface for chording near the nut and a more curved radius for bends up high.

Hardware centers on a recessed Floyd Rose 1500 Series double-locking tremolo. The recessed mounting lets the bridge sit flush with the body, enabling both dive bombs and pull-ups without limitation. Jackson sealed die-cast tuners handle the other end, and locking strap pins keep the guitar attached during Borland’s stage acrobatics.

A practical touch worth noting: Luminlay side dots glow under low stage lighting, making fret positions visible in the dark without squinting at the fretboard.

Key Specs at a Glance

Spec Detail
Body Nyatoh, King V shape
Neck 1-piece maple neck-through, graphite reinforced
Fingerboard Ebony, 12″-16″ compound radius
Frets 24 jumbo
Pickup Seymour Duncan SH-8 Invader (bridge only)
Controls Single volume
Bridge Floyd Rose 1500 Series double-locking tremolo (recessed)
Scale Length 25.5″
Nut Width 1.6875″
Tuners Jackson sealed die-cast
Inlays Pearloid shark fin (upside-down)
Side Dots Luminlay (glow in low light)
Finish Black gloss with white bevels
Headstock Reverse 6-in-line with white binding
Price $1,299.99 / £1,199 / €1,399
Included Jackson gig bag

Black Gloss, White Bevels, No Unnecessary Graphics

The guitar ships in a black gloss finish with white bevels outlining the King V’s aggressive body shape. White binding on the reverse headstock frames the upside-down Jackson logo. The contrast is sharp, clean, and unmistakably Borland without relying on graphic flourishes or artist branding beyond the silhouette.

Where It Sits in Jackson’s Signature Lineup

At $1,299.99, this occupies Jackson’s Pro Series tier: built overseas with neck-through construction, an ebony fingerboard, and brand-name hardware that typically appears at higher price points. For context, the Jackson Misha Mansoor Juggernaut HT6 sits in a similar bracket in the Pro Plus tier with comparable build quality but a very different tonal approach (dual Bare Knuckle Juggernaut pickups versus Borland’s solo Invader).

The Pro Series has become Jackson’s sweet spot for signature models that deliver professional specs without crossing into Custom Shop territory. The Borland King V checks every box that matters for heavy players: neck-through build, compound radius ebony board, locking tremolo, and a pickup that doesn’t need a boost pedal to saturate an amp.

Sold Out Fast, But Not a Limited Run

Jackson’s initial production run sold out within days of the May 27 announcement. Retailers including Sweetwater, Guitar Center, and Andertons all show backorder or notify-when-available status. This is a standard production model rather than a limited edition, so restocks should land in the coming months.

Borland summed up the wait for his first signature guitar: “It’s fricking crazy; it’s about time!”

For players hunting a stripped-down, single-pickup V below $1,500 with serious build quality behind it, the waitlist is worth joining.

Tyler Sutherland

Ty is a guitar player and gear obsessive who started chasing tone the moment he plugged into his first amp. He covers everything from new releases and signature models to hands-on reviews and playing technique at New Guitar Daily. When he's not writing, he's probably swapping pickups or arguing about neck profiles.

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