Good quality prosound drivers often have 10-20 dB more clean headroom than what’s normal for high-end home audio drivers, which translates to a very relaxed sound even at fairly intense home audio sound pressure levels. Prosound woofers and midwoofers tend to not go particularly deep, so often subwoofers may be called on to fill in what’s missing. I use prosound drivers and often rely on subwoofers for the bottom end. ...
This. To really have dance and techno music "take off" requires what Duke points out above; i.e. high efficiency prosound drivers, which is to say compression drivers or other/similar fitted to horns/waveguides and larger diameter pro woofers/mids that deliver the ease, ignition, cleanliness and impact this genre of music needs. It’s very much about a visceral experience and as such it’s the core modus I believe of how it works; properly reproduced at higher SPL’s it’s a thrilling, loss-of-control kind of experience that can almost make you feel high.
I also agree that adding subs here is mandatory, but I’d stress the need to continue the use of large diameter high sensitivity prosound woofers into the lower octaves as well, although I’m fully aware this is likely to turn those subs into fridge sized behemoths. While I can see the rationale with regard to extension approximating 10Hz, or even into the single digits (this requires outlandishly large subs, or smaller sealed dittos - still with large drivers - in multiples and massive amounts of power for frequencies this low to be properly felt), a lower tune affects the bass presentation in ways I find to negatively impact the 30-70Hz region in particular - an area where much of the vital energy of techno and dance music rests. Practically I’d forego <20Hz and concentrate on the 25-90Hz range with prodigious air radiation area and high sensitivity for the bass really to be felt here with physical impact and low distortion.
Personally I like high order bandpass bass system like tapped horns or other, and while very big they’re excellent in pressurizing the air (even shake it) in a wholly effortless and enveloping way that smaller direct radiating subs, even in multiples, can’t replicate. It’s what I use myself; a pair of 15"-loaded 20 cf. per cab tapped horns with a tune just below 25Hz. Mains are pro cinema speakers from Electro-Voice with 2 x 15" woofers and a 2" exit compression driver fitted to a constant directivity horn (Don Keele design) - all driven actively. It turns techno and dance music into an electrifying experience, while also serving from classical, jazz, etc. very well.