The most simplest level of "bounce" would be timing. From now on, call it swing instead of bounce, and people will know what you're talking about. There are a million articles on swing and I'm sure I'll get it technically wrong if I try to explain it too much myself, but picture setting up a drum pattern. You have your down beats, 1...2...3...4... and your off beats, which are the ands in between those. 1 and 2 and 3 and 4. 4 downbeats and 4 off beats. If you have a hi hat hitting on every beat, whether it's down or off, a kick and a snare on every down beat, and all of those are perfectly quantized onto those beats, you can get a very mechanical rhythm (this can still work, more on that later).
Where the swing and bounce come in, that rhythm that makes you bob your head, is when the stuff that hits on the offbeats aren't perfectly on the offbeats. This is essentially hinting at a triplet pattern instead of a 1234 pattern. There are many variations on how far off an element, like a kick, might be from the off beat. GREAT EXAMPLE, but a little hard to follow because the beat doesnt start when the kick comes in.
https://www.youtube.com/watch?v=00cr3g6wCG0
You will hear a string sample for a few bars then you will hear a voice kinda go WU-AHHHHHHHHHHHHHHHH. The moment that voice comes in is when the beat starts and you start counting from one. He might as well be saying OOOOOOOOOONNNNNNNNNNE (two, three, four). Now notice how the kick hits ridiculously close to the snare. It's barely behind the snare, which is hitting on the 2 downbeat. Which means the kick, if it were quantized, would be on the offbeat right before the 2 downbeat, but instead it's off, and it's really far off. Some DAW's, like FL, have a swing bar you can use. I would advise against it, as it will stunt your growth if you don't grasp what swing is yourself. But essentially all the swing bar does is move patterns that are on the off beats. If you had just a kick and snare hitting on the downbeats and you drug the swingbar in FL, nothing would change. It has more to do with the offbeats.
Now, I said this is a basic level because a lot of things can change our perception of swing. Most notably, the length and decay of sounds. The best bassists in the world have mastered this. The best way to understand this would be to make a swing pattern like I described above, with a nice punchy kick. Then, replace the kick with a long ass 808 that lasts several seconds. The swing is completely gone because the decay of the kick is stepping on the decay of kicks and other percussive elements ahead of it. That's an extreme example, but it allows you to see how decay can affect swing from a logical point of view. Movement can also affect swing, and by that I mean things that make the track sound like it's breathing and driving forward. A good example would be a drum pattern where there's like, a reverse hit or something that sort of "swells" up into the next kick. You could just think of that as reverse decay. It drives the rhythm forward.
Sometimes people get away with having really quantized beats with basic patterns, and house music is a great example of that. The reason is because they use sidechain compression to make white noise or other elements sort of "pump" whenever the kick hits. That's that decay and movement I was talking about in action. Although the kick and snare are in some pretty locked pattern, everytime the kick hits, the noise in the background ducks its volume, then it swells up until the next kick. This is something that can really help or **** up the rhythm depending on your settings. It's a very crucial element to house and most dance music to make sure it is pumping in the right way.
I would just start with the timing of your samples first. That will get you most of the way there.
, great explanation crimson.