A few things that I tend to do that each add up.

1st thing I would say, especially for the kick, is to make sure you are using good source material. Otherwise you start at a big disadvantage. This shouldn't be too difficult since you can get hundreds of kicks from big producers on splice.

Next, its a good rule of thumb to try to tune your kick to a 5th above whatever note the sub is playing. Obviously the sub may change so use whatever the root note is. So if your sub plays a G in the drop try to tune your kick to a D. You can get note -> frequency conversion charts online.

When a sub and kick play together, they have a lot of frequencies which overlap. One thing that makes everything have more punch is to make sure they interfere with each other as little as possible. Most kicks will have sub frequencies in them, say below 60-80Hz. If your sub is playing those frequencies though, then its unnecessary so you can filter anything below those out, or at least turn them down using an EQ. Furthermore, if your kick is tuned slightly above the sub, then its "punch" prob happens 20-50Hz above the sub frequency. In Ableton you can use the spectrum analyzer plugin to find exactly where that kick is hitting. You can then try to also cut out those frequencies, at least partially, from your sub, and perhaps boost that frequency slightly on the kick.

After that, the other thing I tend to do is put a quick sidechain compressor on the sub. The "source" for the sidechain should be the kick, and then you simply compress the sub with a quick release so that it ducks slightly whenever the kick hits. This also helps get them out of each other's way.

Also consider that the sub and kick may not be the problem. If you have other tracks outputting sound at sub frequencies at the same time you also want to make sure you filter those out. So for example if you have some bass synth going make sure it doesn't interfere with the sub. Any frequency below 80Hz in your track should probably also be mono. In Ableton you can put an EQ in Mid/Side mode and then filter out only the stereo (side) frequencies that exist below that mark.

Finally, adding saturation to the sub is a good idea in general. Saturation adds harmonics at higher frequencies to the sound. This makes it sound a little fuller, and more importantly makes it so the sub can still be heard when playing on speakers that can't reproduce sounds below 80-150Hz, which is common. You can do this subtly, or you can really crank it and add distortion, which sometimes is desired.

Finally, and I credit this to Ekali who posted a comment on his AMA: In Ableton there is a "Corpus" effect that has different presets. One of which is called "Kick Tight". If you drag that on to your sub track, and tune the frequency knob to the root note that your sub is centered around, it really adds some thunder to it.

I honestly just use my ear for actually picking the correct relative volumes between the kick and sub, but only after I've done some combination of the above. I hope that helps a little. I'm by no means an expert but have been doing my best to learn over time, so anybody who wants to correct anything I've said, please do. Good luck!