To put it succinctly, the UE Live just sounds fat. However, this is on the one hand positive, but equally negative. The UE LIVE was developed for the big stages, where mostly acoustically all hell can break loose. Huge basses, meter-long line-arrays, over-proportioned amptowers of bass and guitarists, as well as a drumfill that could be used to fill small concert halls alone. Not to forget the audience.
This means that an IEM needs to be able to assert itself under these conditions, so that the artist can still concentrate on his vocals and the band. Without a doubt, UE LIVE has the volume and the power to do so. But the whole thing happens at the cost of accurate and natural sound reproduction.

I love bass and the bass of UE Live is a force of nature. To be honest, I have rarely heard bass passages so textured and crisp. With the UE Live, three drivers take care of that area. One dynamic driver takes care of deep sub-bass and two BA drivers for everything above. A 5-way crossover tries to put everything into the right direction so that no driver goes crazy on its own, including the mids and highs, of course, where 5 more drivers are added. Many drivers also always have the risk of not being well tuned, but here it works without you noticing a transition.
I've also never seen a hybrid combo that takes care of the bass and thus combines dynamics, depth, speed, punch, detail, pressure, texture and linearity. The sub-bass is not additionally raised, but on the same level as the mid and upper bass.
The icing on the cake would be that the upper bass drops a bit faster so that the mids don't get as much warmth anymore and the bass acts a bit harder and punchier.

The mids are powerful and voluminous. They try everything to oppose the bass and this sometimes leads to a lack of clarity and transparency and level of detail are rather overwhelmed by the pure power when the bass turns up and the mids try to keep up.
This makes them sound thicker, warmer than they should. As usual for UE, they are of high resolution and have a certain clarity and transparency, but their strengths and at the same time weaknesses are more in the physical than in the mental aspect.
The full body that the mid-range bass guitars and other instruments, where the frequency range is a bit lower, give as a basis on the way, basically meets my taste and is above all extremely musical and emotional. If you change from UE Live to another IEM, suddenly everything sounds quite thin for a short time and you have to get used to it again. But soon you notice how voices at UE Live are negatively influenced by this presentation, because they sound warmer than usual. This is the case with both sexes. You also get used to it, but it leaves a bland aftertaste.
The fact that voices are not pushed too much into the background is also due to the fact that the UE Live has been given a considerable boost between 1 and 2 kHz, which would be considered strange with many other signatures, but here it provides assertiveness and somehow works.
If you go further up the mids, they become more natural, organic and clear. I would describe it like this: What the upper mids, together with the highs, create, is to cover the spherical belly of an expectant mother with maternity clothes, so that this is not immediately noticeable from a distance. Nevertheless she is undeniably pregnant. Although UE relies on a safe tuning at UE Live, the sibilants come out here and there.

I have already mentioned that the highs of the UE models have a lot in common, both in quantity and quality. Here I can refer to the 18+ Pro, or RR & 6 Pro. However, in the signature of the UE Live, they can't quite unfold in the same way as in the mentioned models, especially as with the RR. It takes their breath away a little and they look more constricted. But depending on the music material, they also have the gift of bringing out fine details, with a touch of brilliance, but without luring treble heads out of the house. Don't you dare to put worse music material in front of the UE-Live, which is true for almost every UE model. Due to their consistently very good resolution, but unfortunately also because of the fact that there are always more or less sibilants involved, it quickly becomes artifactual and more exhausting than with high-quality music, without strong compression. I would classify the highs of the UE Live as somewhat harder (positively meant), which is to my taste. They roll off drastically after 8 kHz, only to fall back far behind 10 kHz and clean up a bit in the signature and stage presentation.

The stage is not to be blamed and compared to the 11 Pro it's not pressed anymore, with similar bass quantity, as the middle doesn't fall behind so much. Usual UE-outside-the-head-experience, but there is not the feeling of freedom like maybe with an RR. The 3D image and the separation are unmistakably affected by the bass and the warm overall performance, which means that individual instruments can no longer be separated as well and sharply.