Live sound engineer here. There are lots of differences between live and home.
Here are the differences I can think of right now:
1 - Live mixes can be very different to studio mixes
2 - PA systems can be quite far from flat
3 - Outdoor bass is different to indoor bass
I'd like to mention that I'm not one of those sound engineers that aims to have a small jazz set cave your chest in with bass. My mixes are pretty balanced, and I've been accused of not-pushing-enough-bass before now.
I've just finished soundchecking with a blues/Americana type band. With a sensible (genre-appropriate) balance out-front, the bass drum hits were metering +6dB to +10dB over the "nominal" level of the music. NB - this is a reasonably flat PA sytem. There's a reasonable amount of "punch" in the audience area, within reason: it's a 26" bass drum, tuned pretty low. The big round sound is what the drummer is going for, so there's not loads of the 70-100Hz "punch" to go around. I could apply some processing and get it to really smack everyone in the chest, but it's not that sort of gig.
In the studio, things are very different: the mix must sound as good as possible through a much wider range of reproduction systems. Laptop speakers, phone speakers (if anything, my phone sounds better than my laptop), table-top radios, £10 earphones... The list is long before we get to "decent home audio setup".
As a result, studio mixes must ensure that your average crappy radio doesn't go "crunch" on the bass drum before you can hear the vocals clearly. That means compressors and limiters all over the place, squishing everything together.
All of that processing will reign in the bass drum. It'll "fit in" nicely, rather than "punch through". The latter is perfectly allowed and desirable in live reinforcement. That +6-10dB I mentioned earlier simply won't be there on the studio mix.
It's pretty much impossible to undo all of this processing, but it might be worth playing around with an expander (or even, sample replacement mixed back in) to widen the dynamic range of the music and maybe re-introduce some "punch".
Next up, let's look at PA systems. Context: we're aiming for "full-range" reproduction. ie, a reasonable amount of bass on-tap.
Small PA systems won't typically have subwoofers. They'll just use a pair of 12" or 15" speakers. The better models can put out a useful amount of "punch", but will still struggle to provide much LF output compared to a subwoofer of equivalent size. As expected, an amplifier + driver trying to reproduce a wide frequency range (50Hz-2kHz) will easily be overloaded if you want a lot of bass.
These speakers might reach flat down to about 70Hz, but I'd consider that the bare minimum of LF reproduction. It sounds reasonable, until you hear something that goes deeper.
A better approach in the small-PA-system world is to use a subwoofer or two, of the size of the main speakers you would've got, and then use mains the next size-or-two down. ie, where a pair of 12" mains might do the job, a pair of 12" subs with 10" mains will be better.
Some LF extension may be gained, but the reduction in distortion and/or improvement in headroom is the real benefit there.
A side-note on PA speaker specs: they're mostly BS. I wrote this article:
https://www.prosoundweb.com/spec-wars-looking-inside-loudspeaker-spl-specifications/
In frustration at the industry, back in 2017. It gained international recognition, with the head of engineering at EV, the guys working on M-Noise, and other sound engineers getting in touch to discuss things further. M-Noise is the only testing I'd endorse or recommend for testing the output capability of a loudspeaker.
End sidenote.
Moving towards medium-sized PA systems, there will typically be 2-4x 18" subwoofers with a pair of 12" main speakers covering >100Hz. A good 18" subwoofer will be flat to around 40Hz. IMO, this is a sensible compromise. It'll cover the LF demands of 95% of music, without being ridiculously large or hamstrung on SPL. NB - going an octave down requires 4x the cone area to maintain SPL, and when it gets to larger-scale productions, that's 1x truck vs fo
As you get to the large-scale stuff, the standard subwoofer is a 2x18". Ported box. If you want to go louder, use more. These will typically also be flat to 40Hz, but some can dig deeper. Typically only to the mid/low-30s, though, unless you find something intended specifically for genres that require high levels of VLF.
As you move towards the more capable PA systems, the system technician (the person who sets up and tunes the PA system - typically this is for larger productions) might provide the FOH engineer a "LF haystack", and/or "subs-on-Aux". They'll work it out between them, according to the FOH's engineer's preferences.
The former is deliberately introducing a LF boost into the overall tonality of the PA system. I've heard of this being as much as 20dB. ie, you set off with a flat response, and then stick a +20dB low shelf boost on there.
More typical might be +10dB. I prefer a flat response.
The latter is a separate feed from the mixing desk, where the FOH engineer can choose which channels get sent to the subwoofers (as well as the main speakers), and how much is sent. For example, you might want more sub for the bass drum than the floor tom.
Not sending a channel to the subwoofers is like adding a highpass filter on there, since that's what's being applied for the main speakers in the system processor.
We can see, then, that there's a lot of potential for extremely bass-heavy reproduction in live sound. The FOH engineer will choose how much of that LF output to actually make use of. It will be pretty rare to get much content below 40Hz, though.
Finally, I'd like to suggest something that I don't know as much about.
In an acoustically-small room, bass is essentially arriving from all directions. The net effect on us, then, is an overall compression/expansion force.
Outdoors, there'll be a pressure gradient: bass is only arriving from in front of us, so pressure/force is applied there first. While our ears don't necessarily perceive directionality at LF, I'm willing to bet the physical sensation of bass at equal SPLs, indoors vs out, is quite different.
That's all for now. The band is on soon and there are a couple of things I ought to attend to. In my next post, I'll discuss a PA system which I deployed recently which actually had a rising response towards the LF, peaking at 18Hz. It was a lot of fun.
Chris