This developing subtractive method is becoming really interesting. It makes it much easier to write and communicate more complex orchestrations than in the past— which is not an end in itself, it just makes it easier to adapt the system for specific styles, with specific constraints.
I've been doing a batucada-type samba of samba thing with it. Part of the thing with this method is that we're converting a Stone-type sticking pattern to do things other than Right hand and Left hand. For this method we'll use A = accent on the snare drum, and B = add bass drum:
Use either of these as the loose foundation:
Those accents are default for this style; you don't have to reconcile them with the accents/bass drum in the practice systems. And you don't have to rigorously work out the buzzes/drags. It sounds best if it's not too worked out— let it be a little rough.
As it says, accent the snare drum on any As in the book rhythm, add bass drum to any Bs. And don't do either of them on notes that aren't sounding in the book rhythm. If that instruction doesn't make sense to you, read the system summary post again.
Here's how the first line of the p. 38 exercise in Syncopation would be played using the AAAA-BBBB system:
Play the system accents as rim shots, or accented buzzes, or whatever you like. It's not about doing the system 100% perfectly, it's about using it to go for a sound.
At slower tempos you could play the 8th notes half-swung— which takes it into more of a New Orleans street-beat type of feel— at faster tempos try the tripteenth-style samba feel, where all four 8th notes get squashed in to the same space as the first-through-last notes of a triplet.