1980 Kahn is two different Fender Ps, his favorite 1958 P seems to have been temporarily replaced/supplemented by an Olympic White P with what appears to be a 76/77 to 82 logo, a rosewood neck and similar mods - Leo Quan Badass II bridge and DiMarzio pickup. Both helped a lot with clarity and punch on stage plus added a little high end clarity, but all are pretty out-dated now. Flatwound strings of course, it's extremely noticeable in 1982-3 when he switched to rounds on that G&L L2000.
I'm not sure but I believe he had some sort of blaster or buffer in his fender bass, but don't quote me on that.
I've had this theory off and on. I have a DiMarzio/BAII bass and a Waldo TPC but haven't put them together quite yet. Some afternoon I'll try it and see how it comes out. On the flip side I've been dying to have at least one lousy passive bass but they all keep coming out active.
I do think there's a little extra clarity to both of the modded Ps that passive Ps don't quite match.
Hartke stuff is pretty awful... if that's all you compared the Mac to, I'd say that's not a fair comparison. But I'll admit I'm curious about Macs.
For amps, I just aim for 15" speakers rather than 10"s. He used a pair of what appear to be D140s with the silver domes, unless they made an equivalent E or K 140 with the same dome. I haven't played a Mac but I've played an F2B through my power amp into my random cabs and it was a little more Kahnlike than my SWR/GT preamp, but has some issues due to age.
The biggest factor in JK's sound is his technique of course. He's a remarkably fast player but with a VERY inefficient left hand, which gave him a very staccato style with little sustain on the faster songs, especially the two-beat country stuff. Most of his speed comes from a precise right hand and his use of open strings, he really thought like an upright player even into the 90's. You'll notice on That's All Right Mama when he's doing those two-beat root-five country beats, an electric player would just fret both notes with different fingers but you can't do that on upright, your hand would wear out and they'd be out of tune.
Long story short, put flats on any P and play like John and you'll be ahead of just about every other bassist around. It'll come out more 73-76 but still in the ballpark. Bonus points if it has some sort of heavier bridge and onboard preamp.