You are comparing your own track with a track that is mixed and mastered by some of the most talented engineers in the whole music world.
I'd say try comparing your track with a little more moderate yet established artist that can't afford the best geniuses, and take it from there.
Further on, as stated above, don't focus on how things look, use your ears more.
Anyway, there are countless tips and tricks out there for mixing kicks with the track, only a search away.
But to give you some tips:
- Make sure you have a very good transient in the kick. Our ears are better at detecting peaks than the RMS signal (part of our survival mechanism).
- Sidechain is common use, and even though you may not directly hear the sound ducking to the kick, it can still make a difference and let the kick come through better.
- Make sure you have a good timing on the sidechain in relation with the kick.
A common practice is to have a separate sidechain triggerer (often called a "ghost kick") that's not routed to the master (mostly a very short sound -> more control of the shape). Then a lot of people eiter nudge the sidechain triggerer back a few microseconds, or the kick forward a few microseconds.
The reason why is that even the fastest compressor still needs some time to reach the full gain reduction, and by that it can miss the sharpest part of the transient of the kick, meaning the transient doesn't stand out as much as it could. And by making sure that there's a slight delay between the "ghost kick" and the real kick, the ducking sounds have already reached their full gain reduction by the time when this sharp transient happen. And voila, you may now have a transient that stands out perfectly, making our ears detect it better, making it stand out in the mix better.
- Try using more than one compressor dealing with the sidechain. Sometimes you feel you can only use a small amount of ducking on a sound, when you want it to duck more heavily to make the kick stand out better, and that's why it can be good to at least try have a compressor that completely squashes down the sound when "ghost kick" kicks in, with a very fast shape, that's almost barely audible since it's so fast, and then apply another sidechained compressor with the more smooth and longer ducking shape.
- EQ the kick in context with the mix (and everything else of course).
You'll be surprised by how much you may actually boost somewhere on the EQ before it gets too much, when you hear the whole track.
- This is optional, but it's very good to apply some mixbus compression before working on the drums, since they're the sounds that suffers the most from compression.
