Rolls - rolls one one and more congas

[Amalgamation]

Hello fine people Nice to meet you all!
I was reading this thread and had some thoughts.
When approaching doubles, I like to catch the fingers for the 2nd of the double on the upstroke (or when the hand is raising). Think of it like this, when playing a high hat for reggea in drumset, the beat ie: 1, 2, 3, 4 are played with the down stroke, and the 'ands' = '+' are played on the upstroke. The same concept can be applied to congas, but of course playing two notes when doubling.
Like Giovanni shows, a slight pull back on the hand can act like an upstroke and allows the fingers to drop without having to expand energy by raising them each time the doubled note is played.

Also, mixing up singles and doubles can sound cool on cooking tempos.
I like to RRLRLL, played as triplet 16th or 32nd notes. RRLL, as rolls. RLRRLL is cool because slapping on the first R or L adds a hickup in the roll.

[Diceman]

Tone,

I was watching Robin Jones last night and one of the ways he does it is for the left hand to do doubles and the right hand to play the open/slap tones, and swapping to play left hand drums. Sort of Tata Guines triplets.

Diceman

[Firebrand]

I've been mystified by this technique as well. Since I come at conga playing from a drummer's perspective, I've essentially applied the same techniques and practice routines of snare drumming to conga playing. Granted, learning how to strike the conga drum is an art form all to its own, but once you master the basic "toques", feels/grooves of rhythms, the spice and pyrotechnics most drummers fall in love with are simple snare drum rudiments implemented in various ways around the congas.

However, I do have a question for the master's on this board. I work best with a visual representation of an exercise. I've pored over countless Richie Flores, David Mole, and Giovanni Hidalgo videos to find out how exactly they reproduce those quick double-stroke rolls. In fact, before watching David Mole's YouTube videos, I had only seen one person do that: Giovanni Hidalgo. After watching David Mole, I KNEW he had been a mentor to Giovanni. Despite all this video watching, I can't decipher how they produce the clean, loud, double-stroke tone. I can reproduce fast double-strokes using a heel-toe technique, but it's always quiet and muted. Does anybody know a video online that tackles just this technique? Has David Mole put one up? I find that this technique is fundamental to all types of 5-stroke, 7-stroke, and other combinations of distributive rudiments around the congas. I'd like to get started on mastering that with practice, but I'd like to know the fundamental, slow technique to practice.

Any video on it, friends?