Bass in the studio

Just because a 40Hz sine wave is eight metres long, it doesn't mean a smaller studio won't be able to hold that frequency; what it does mean, though, is that it won't necessarily get it quite right. The smaller size of the room will cause build-ups of frequencies that are too low for it to properly support. Different bass frequencies will end up playing at different strengths, causing you to easily misjudge the real weight of the bass notes in your tracks.

One way to fight this is with bass traps. These absorbers, placed across a room's corners, disrupt the build-up of the lowest frequencies, but everything depends on the studio in question. Using a room calibration software and mic package can really shed some light on exactly what's happening in your specific room. Sonarworks Reference and IK Multimedia's ARC 2.5 System are two options to check out.

Or how about you leave the lowest bass out of the air entirely? Since the lowest bass is more felt than heard, there's a whole range of wearable tech for producers. A Subpac vest or seatback subwoofers can feed the bass directly to your bones; or for a more low-key option, the Lofelt Basslet does a similar thing on your wrist.