Edit: I’m a dummy and I didn’t read clearly. You’re listening for missing notes and doubled-up notes and that is one good piece of evidence, for sure. But it doesn’t really tell us specifically what motions John is using, or whether he uses swiping, or whether this has anything to do with “pickslanting”, per se.
Andy Wood uses a mildly supinated arm setup, which we used to think of as a “downward pickslanting” style setup. But here’s a great example of why that thinking is incorrect in common usage:
This phrase is similar to the one John in playing where it’s outside string changes, three notes per string, and Andy is going back and forth between two strings. So he is using downstroke string changes and upstroke string changes and he is making them cleanly for the most part. How is he doing it?
He is changing his wrist motion. The downstroke string change is one wrist motion, and the upstroke string change is another one. He is doing this without (for the most part) making significant changes to his arm setup.
Interestingly, in re-watching this now in slow-motion, I’m noticing that Andy throws in some hammers on the upper pairs of strings to enable the downstroke string changes. It’s like an upside-down Yngwie. So he is biasing toward downstroke escape, which is his preferred motion for fast playing - the “2 O’Clock” motion, which we all know about now!
So in your clip it is possible that John is making an upstroke escape motion on certain strings and that’s why he doubles up certain notes or leaves out other notes in favor of legato - same as Andy is doing. But it doesn’t really tell us anything about swiping because he could also be doing what Andy does and using a different wrist motion for those string changes.
I think the real practical question here is that if you want to play this kind of line, what do you do. And I think it involves choosing an arm position, learning to make both kinds of string changes from that centralized arm position. And I think there is probably a way to do this that doesn’t involve micromanaging the motions you make on each pickstroke because I think we can see at least in Andy’s case that they are so subtle and transient that you probably can’t even really feel them anyway.