Depends if you want lots of audible pumping or not. A dynamic EQ works better for invisible sidechain as you can set it to only duck the frequencies that are clashing.
Another alternative is to put the kick on it’s own track and low cut it. This track is a ghost SCT. Now you can dial in the release time of the compressor more smoothly. As the compressor will be initially reacting to only the transient of the kick, depending how far you set the low cut.
I like to do both (disclaimer: i’m not very good). A compressor doing the full instruments 1-2db to the kick (this would be set with the threshold way down in the noise, with next to no ratio, essential vocal space trick too) and Dynamic EQ for the more masked areas. The 1-2db is just to carve out a little bit more space so that the master compressor doesn’t have to work as hard, all those peaks aren’t adding up.
if doing 4 to the floor, a volume shaper has huge advantages. Different compressors (and dynamic EQ’s) have different release curves, no matter how well you set the threshold, ratio, release, you might not get that desired bounce. Drawing in the fades would be similar but that’s no fun, I myself prefer to get the equipment bouncing off each other.