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Quintin Berry

Quintin Berry has made the electric bass his life’s focus, and the world has taken notice. His unorthodox, “underhanded” bass-playing style is as fascinating to watch as it is to listen to. This, combined with his precision grooves, has garnered him recognition from Bass Player and Bass Frontiers magazines.

Berry has maintained the low end for many bands, including the Mike Latham Band, Plastic Eddie, and the Ugli Stick. Meanwhile, he has found time to devote to his solo project, QBass, a moniker under which he has released three albums. Berry also plans to compose for film and video games. And he has chosen PreSonus for his recording and mastering needs. “I’m a bass player first and foremost, but I love to write and record, and PreSonus gear makes it easy,” explains Berry.

One of the things Berry most appreciates about PreSonus Studio One is its headroom. “I would rather master in Studio One than anything else” Berry says. “I've got more control, and I can level out all my songs. It's just right there in my face! I can do a whole album in Logic and pop it into Studio One Professional for mastering, and all the levels are perfect. It's still bangin’. Studio One plays well with others. I just get more out of it. I can push my levels in Studio One without it distorting. It still sounds just as loud without clipping; I don’t know how they did it!”

Berry uses a PreSonus FireBox interface for recording on the go. “The FireBox is all that's attached to my laptop,” he explains. “When I'm on the road, it forces me to dig a little deeper into Studio One. Mother, Father, Preacher, Teacher; Bass in yo' Face; and part of 2010 were all recorded with the FireBox. Bass, vocals, everything!” Perhaps sometimes Berry shares a little too much information: "I was in my hotel room recording Hendrix’s “Voodoo Chile” in my undies,” he laughs. “That entire track was recorded in my hotel room with the FireBox, and it made it onto the CD!”

He also is a fan of the StudioLive 24.4.2 mixer. “I first saw this board at one of my gigs. The sound technician showed me all of the cool things that it could do, and then he said that he was going to record the band that night with the board.” After that gig, I knew that Studio Live 24 would be the board for me in my home studio. Now that I have one, all the cool things that this board offers have really put me into a different game for recording. I've always been able to record my music with the FireBox, but now with the StudioLive 24.4.2, I can record any kind of band because I have all of the tools that I need built inside the board! I see sound engineers with racks and racks of outboard gear—I have all that functionality in the StudioLive! Why bother moving all that heavy stuff around?” (Laughs.)

Berry closes by offering insights to aspiring recordists, “Even if I've got writer’s block and can't think, I can always jam, come back to it, and find three, four, or five songs! It's crazy, man. With today's technology, there's no excuse for not doing your own thing. I understand people go to school for recording, but that doesn't mean you can't do it without school. It's not like that any more. If you're gonna pay all that money, you might as well buy your own gear and learn it all on your own time.”