Yup, layering and/or compressing and expanding the transients will work.
On a more general level, and listening to your track, the problem you're dealing with is that your kick and subbass are around the same frequency range. It is a bit of a black art getting that right,
made worse by the fact that you're probably not on kit and in room with the best bass-response (neither am I for that matter).
Beyond the dynamics processing, equalization and balance within the track is really important:
-first check your analysers to see if you're dealing with an actual lack of bass, or a lack of perceived bass. Remember that your speakers and/or headphones aren't telling you the whole story here...
I checked some of your tracks (which wasn't a chore btw, nice vibes) and the bass is there. Dark Beat has a nice sub, Open Sky has a nice kick.. that's not the problem.
So, the bass is there, it just doesn't stand out... so we know that boosting/compressing isn't gonna do that much..
-keep in mind that the 808-like kicks you seem to prefer are actually kind of a hybrid sound: it's a transient click with almost no body but instead a sub-bass tone.
The problem with those (near-) pure low end sine waves is that you don't really hear them. You can feel them if you have large enough speakers in a large enough room (think dub soundsystem).
The stuff that you actually hear on normal sets and headphones as 'sub-bass' are the overtones, harmonics, distortion. They give the impression of bass and go a long way in making it stand out.
You might want to look at adding tiny amounts of distortion to your sine-like basses.. not enough to destroy the sound, but just warm it a little... This is why back in the day people would record their
stuff onto tape recorders and overdrive the signal a little. With analog gear, you don't get clipping but you get a nice little distortion. If you don't overdo that, it's nice and really key to getting that classic warm sound everybody likes. So you might want to try going at it with some distortion or saturation.
-use filters instead of your regular EQ on the low-end..
For a bunch of technical reasons and maths I don't understand either, eq'ing your low-end tends to mess with the phase and cause unwanted changes, making it very untransparent and unpredictable.
The way around this is with a linear phase EQ plugin, but they're HEAVY as shit to run.. as a stopgap using LP and HP filters actually don't have that phasing problem nearly as much and behave much predictably.
-back to those overtones and harmonics.. a lot of the stuff that will make your bass interesting and add that perceived weight actually happens a few bands above the sub, around 120-450 hz..
so you'll want to give it room to breathe there. If you have those (near-)sine waves with just a tiny bit of saturation, the action in that range is gonna be subtle, so you don't want to cake it with a lot of other
attention grabbing stuff there... especially not on anything you want vocals on, because they'll be fighting for that space too.
-back to the balance:
while you're stringently cutting low-end out of everything that doesn't really need it, cut off all the high end you don't really need too. Counter-intuitive? Yes! Smart? Yes!
The same logic applies here: a lot of very high end you don't even hear, let alone need on anything but your hihats for instance. A lot of sounds will have high end you don't need.. especially working with samples and patches, they process everything to sound big and bright, but you don't necessarily want that in your mix. Because the energy in those high frequencies will build up and make your high end too messy. Once you compress the whole thing, it won't be nice, bright and shimmery but harsh and nasty.. Having a nice controlled high-end will allow you to go much louder overall and just create a much nicer and brighter sound, that seems to have more bass because there's simply more contrast. Think of it like this: dark pictures look best on bright TV's
PS> also don't be afraid to just throw limiters on there. Compressing isn't gonna much anyway with very low frequencies.. you're basically just changing the amplitude
The entire reason for using certain compressors (analog ones) isn't the dynamics control, but that tiny bit of saturation they add when you overdrive them a bit.. (and the fact that they react differently to different input levels)
Anyway, none of this is set in stone... hope this helps a bit though..
