So like a lot of others have already stated, this situation does depend to an extent on the context of the given specific mix and also the source sound recording/kick sample you select. With that said, I do think I still have some suggestions for you that will help!
First off follow Danny’s channel strip work flow strategy/approach because well, it works, and it makes sense!
Secondly, to be more specific to your point of getting the proper sub energy out of your Kick: While the entire channel strip flow is important, I think the majority of this problem comes down to how you are using compression and eq. You don’t want the sub energy of the Kick to be overbearing as that will cause a whole new set of issues with your mix, but you still want to feel more of that sub energy/power than you’re currently achieving, yes? Don’t be afraid to cut frequencies more aggressively before compression if necessary. I find sometimes if I cut more sub energy off of my Kick prior to Compression, that I actually end up with better sub energy presence and importantly more controlled and focused sub energy. Now another thing is cutting enough high end off of your Kick. This is just as important to me as cutting lows sometimes. If there is too much high frequency content in the Kick sound, your ear is going to hear that first or more prominently than we want and typically the important content of a Kick that we want the listener to focus on is not at the tippy top of the spectrum. You’ll find as you start to roll off the high end on the Kick, that your ear will shift and focus more and more on the low mids, lows, and sub areas. Again, thats because as we shave off the top, we allow the content below what we are cutting to be pushed out by the monitors easier and we hear it clearer and from a new perspective. You’ll start to hear/feel the low/sub energy more present in the Kick from cutting those highs. Unless you’re doing a very hard hitting aggressive dubstep type of track, we don’t need all that high end content on the Kick. It sounds better without it. It sounds more like a Kick without it! Haha! We also don’t want the sub of the Kick to clash with the Bass/Sub Bass. So when you are compressing, (recommend using multiple compressors in serial) have a goal in mind as to what you want that compressor to do for the sound and how it relates to or affects your mix as a whole. For example: Do you want more transient focus to cut through? Or maybe theres too much transient emphasis and you want to balance that out a bit while adding fatness to the bottom end? Etc etc. There could be many possible goals that you might have in mind but try to assign each compressor just 1 or maybe 2 goals max to accomplish rather than trying to get everything where it needs to be with only 1 compressor. Once you have the power, focus, and definition you want from the compressors, then move on to additive EQ’s and possibly even more reductive EQ again to re-shape/mold the sound after compression. Use your ears! Play with different frequencies that make sense, different Q’s, different EQ’s, etc. I think you’ll find Pultec and SSL style EQ’s very beneficial for what you’re trying to accomplish here! Layering Kicks works for a lot of composers/producers out there, but to be honest at least in my experience I find that tends to lead to more problems. I advise you try to find 1 excellent sounding Kick sample rather than trying to piece together several. Keeps things simpler, and to me usually ends up sounding better too. Don’t settle for a sample/recording that you think is just ok. Find one that already sounds amazing and that has the qualities and characteristics that you’re listening for before you even start treating it.
I hope that helps you out somewhat! Please don’t hesitate to reply and get more into the nitty gritty of the problem you’re having with this. Very happy to discuss further and try to help you solve this dilemma!