I'm sure you know it's not just a pure sine, it has probably just one extra waveform over the top if it so it has the extra harmonics. So in your synth use a sine wave with a probably a square wave sitting over it and lowpass anything up 1khz. OR Get pure sine bass in one synth, and the square wave in another, and highpass the square wave up too 100hz so the basses are clashing with eachother.
Using the second option you'll still have the original power of the sine, where as if you did both in one synth the harmonics from the square would mix with sine harmonic and give it less dB (so the sub bass isnt as hard hitting). 98% of producers will always use a individual synth for the sub bass for this reason, Jakes stresses it a lot
When you have the sine and square on individual channel mixers, balance them out and route them both the one channel so you can see what the total dB output of the bass.
Also slight distortion to the square will give it more grit, but now even thinking it could be done using distortion to just the sine wave.
So, Sine > layered with square/saw with highpass up too 100hz > route both to one channel > lowpass on the whole bass up 1khz or less > and slight distortion on the squ/saw