If you don't like it, don't use it.

If you like it, use it.

Either way, stop devolving into arguments and please try to stay constructive. We're all trying to learn and improve here, and calling other people elitist or stupid or anything like that doesn't help us accomplish that.

In Ableton I have a dedicated resampling channel for any sort of one shot or small section bounces; I'm sure putting an Edison on your master bus pre-FX would work the same way in FL Studio. I'm not sure how to do it for the other DAWs, though.

Step 1. Find Kick Sample. You already have them, so just pick one that works.

Step 2. Play a sine wave in the 30-60 Hz range, depending upon the key of your track. Every single DAW has a simple synthesizer that can do this, and most if not all DAWs have a visual indicator of frequency to note connection.

Step 3. Place slight saturation on that sine wave (optional, so it can show up better on laptop speakers)

Step 4. Put a compressor on top of the sine wave, sidechained to the signal of your kick so it ducks every time the kick hits.

Ask yourself why you want to be a musician. Ask yourself why you want to follow a career path where you spend 6-12 hours a day in total isolation, either practicing or composing. Ask yourself where you want to be in 1 year, in 3 years, in 5 years and in 10 years. Ask yourself if it's really worth it to devote your life to something like this, and if you're not just doing it because you're following a trend or you just wanted to pick up a hobby. Are you ready to accept that there will be times when you are not doing this because it's fun, but because it's your job and you have to?

If you're feeling like this isn't the path for you, good news: You don't have to worry about progressing or even forcing yourself into music anymore - and chances are you'll start to make music again because you're not placing such high expectations on your results. You can just continue on as a hobbyist, making tunes whenever you feel like it and moving onto a different career path. There are tons of people like this, and there's no shame in making music for yourself or your friends and even just dicking around inside your DAW for a couple hours and closing without saving anything to get back to your "real" life.

If, after all that, you still wanna make music, then you gotta get serious and start figuring out exactly what you wanna do and how you wanna do it. Start writing out a contract to yourself for your goals, broken down into specific timelines. "I will write a song every week and release a song every month. I'll be DJing at a local club by this time next year. I will release an album in October." Plan out everything you need to do and everything you want to do for at least six months in advance, if not longer. Turn off your internet and put your phone on airplane mode every night before bed, and don't turn them back on until you've finished the music you need to do that day.

Also read Steven Pressfield's The War of Art and Turning Pro - you're deep within the throes of Resistance.

From what I hear in that track, the snare is comprised of three layers:

1. A pretty dry sounding clap sample, probably just some stock 808 or 909 clap someone put in a sample pack.
2. The transient snare, which is probably a more traditional snare sample. Might be just a punchy noisy snare (if so you might not need the clap, but i think they're two different sounds). This also carries a bit of the body, which is where the faint "doof" under the louder tone can be heard.
3. The big tonal hit, which sounds like a pitched down glass hit or woodblock sound. A lot of future bass and post-Jack Ü trap is centered around layering very metallic tones underneath your snare, so experiment with pots and pans and bells and whatnot.

The actual sample sources themselves are honestly irrelevant. Chances are, you already have all the samples you need - and you can just get a bunch of metallic sounds from freesounds.org or something like that. Experiment, and see what happens!

I'm not the best sound designer when it comes to creating new drum samples, but here's a quick little example based off what I just told you, and the snare is deconstructed here.

This isn't any special trick, this is a standard technique called double tracking. The vocalist, guitarist, or whomever you're recording repeats the same musical phrase twice, and you pan one take hard left and the other hard right. The simple fact that they are not the same recording and our voices can't recreate the exact same sound twice means they contain different enough harmonic information that they provide that really nice spread out sensation. if you listen to the song with headphones it becomes especially clear, because you can make out the slight differences in how he sings the left signal and the right signal.

Plus, since they aren't the same recording, they won't double or phase cancel - completely mono compatible!

If you really worry about "cheating" in music, you're worrying too much.

You can get as much work done in 1 hour of intentioned, focused activity as you'll get in 10 hours of working while checking facebook/twitter/text messages/youtube tutorials/webforums or otherwise distracting yourself while working. Humans cannot multitask, the concept is a myth. We simply divide our attention between two tasks, which lowers our efficacy at both. So it's not even a matter of focusing on results over time or time over results, but focusing on the task at hand that is important. Unplug your internet every time you want to produce or use some sort of blocking program like AntiSocial or Focus - do whatever you can to prevent yourself from succumbing to temptation and WORK!

That being said, you probably shouldn't shoot for a specific timeframe of production unless you're working on a restricted schedule, because you'll never know how long any one particular production session will take and it's easier to be productive when you're not just wandering aimlessly through your DAW. Personally, I work with what I call "Fix Sheets" - A written list of everything that I think needs to be added, removed, changed, or fixed in my current project file.

I start my production session by listening to the song from start to finish, and writing down little notes based on how I think the song should be fixed. "Add shakers to second half of drop", "change lead synth melody to jump around less", "move white noise lower in mix", etc. I don't make any changes until I get to the end - and I either work in the order they were found or in order of what I feel is most important to least important. If I find something else I need to fix while I'm working, I add it to the list instead of changing my focus and allowing any distractions in. Every time I finish everything I've written down, I go back to the beginning and repeat the process until I just can't think of anything else that day, which means I'm probably at mental capacity and are hitting those diminishing returns you're talking about. If I'm not at mental capacity, and I've already done due diligence in referencing the track against what's commercially available, I can take that as a sign to just consider the song done and move on.

This can be 3 hours, 6 hours, or 12 hours, depending upon how much I identify, how close. I do try to stymie things by using the Pomodoro technique to let my brain decompress, but what I've found is the more comfortable I get with making music, the longer I can go in each individual session. So comfort in your own skills might play a part!