Kicks and snares require punch so compress, compress, compress. The way to achieve that distinctive crack is to set your attack time to 3-6ms, allowing the sharp transient through before the signal gets attenuated. Then, raising the ratio and lowering the threshold will further accentuate the crack in relation to the rest of the kick.
There’s an old production adage that it’s not what you put in but what you take out that makes the difference, and this is never more true than in hip-hop production. Resist the temptation to keep adding parts, and make sure you leave plenty of room for the parts to breathe (some hip-hop beats only have one or two kicks per bar).
If you’re using more than one mic on the same sound source, watch out for potential phase problems. A useful diagnostic technique is to pan the mic sources left and right, then listen in mono and stereo. If the sound becomes impossibly compromised in mono, you know you’ve got a problem…
Most of your drum sounds will benefit from some EQ, and if you’re struggling to make one of them cut through, adding some kind of high frequency boost or an exciter can work well. Just be aware of the standard EQing technique of cutting unneeded and clashing frequencies from other drums before boosting.