I completely agree with Bryce on the synthesis angle. A good thick synth element can get waaay punchier results than anything recorded in the real world, and they are much easier to bend with regards to pitch and timing because you're bending them at the generative stage and not at the post-waveform stage - no artifacts.
Also, consider frequency content and arrangement when you're putting the sound together. A low or high freq ear candy lead in (but not both), then a very slight pause and a large full frequency event (with that thick synth as a key element) that is followed by a composition that's got a well-mapped frequency layout. elements that bend or stutter will cut through better - but be careful not to junk the design up with too many layers. Everything in there needs to be clearly audible and to be doing something positive to the overall effect.
Play with automating some distortion either in or out on some of the elements. Have the punchiest things in mono and panned dead center. mids and highs can sit or move out to the edges.
mix it on small speakers. If it sounds huge on small then it'll work better on big ones.