Régis Huby was born on June 22, 1969, in Rennes, in Brittany. He studied violin at the Rennes conservatoire, where he was drawn to the rigor and lyricism of Bach, and in the mid-1980s he heard the jazz-rock of Didier Lockwood and began to improvise, playing in bars around Rennes with amateur bands and adding keyboards, sequencers and effects pedals to his set-up. He worked backwards through jazz history, from Michael Brecker and John Coltrane to Dizzy Gillespie and Duke Ellington, and through the clarinettist Bernard Subert, an occasional partner of Louis Sclavis, he found the young European improvised scene, with a particular affection for the violinist Dominique Pifarély. In 1990 he enrolled in a writing and analysis class at the Rueil-Malmaison conservatoire, and in 1991 in the improvised music class of the Conservatoire national supérieur de musique in Paris, where English Wikipedia names François Jeanneau, Hervé Sellin, Patrick Moutal and Alain Savouret among his teachers.

In the early 1990s he took part in a project called Création Violon with Pifarély, Jacky Molard and Jean-François Vrod, and was then asked to replace Pifarély in Sclavis's sextet for the tours of Ellington on the Air and Les Violences de Rameau. He is the violinist on Lockwood's Onztet de Violon Jazz (JMS, 1994), and in 1995 he co-founded the string ensemble Quatuor IXI with the violist Guillaume Roy, which the pair still co-direct. Through the second half of the 1990s he recorded with the Jean-Charles Capon Original Quartet (Capophonie, 1997), with the bassist Riccardo Del Fra on the soundtrack Pour rire ! (1997), with Luc Le Masne's Terra Nova, and with George Russell's Living Time Orchestra, whose album It's About Time (Label Bleu, 1996) his own discography lists.

His first record under his own name, Le Sentiment des Brutes (Transes Européennes, 1998), was made at the La Buissonne studios in early 1998 with an octet that sets Breton traditional sound, the biniou, the bombarde and an electro-acoustic hurdy-gurdy, beside violins, clarinets, double bass, drums and the guitar of Noël Akchoté, and Sclavis wrote the preface for it. In 1999 he started a duo with the cellist Vincent Courtois. From 2000 to 2002 he was a member of the Orchestre national de jazz under Paolo Damiani, and he is the violinist on Charmediterranéen (ECM, 2002), recorded in concert at Montbéliard in October 2001 with Médéric Collignon, Gianluca Petrella, Jeanneau as co-director and the guests Gianluigi Trovesi and Anouar Brahem.

The following years were busy with duo and ensemble records. He made Oui Mais (Signature, 2002) with the drummer Régis Boulard and Too Fast for Techno (Quoi de Neuf Docteur, 2005) with the trumpeter Serge Adam, and Quatuor IXI recorded Phrasen (2005) with the pianist Joachim Kühn and Invisible Correspondance (2005) with the Danish trio Sound of Choice. He joined the quartet of the bassist Yves Rousseau (Sarsara, 2004), became musical director and arranger of Lambert Wilson's Nuit Américaine (2005), and wrote the music of his sextet Simple Sound, recorded between September 2005 and March 2006 with the clarinettists Catherine Delaunay and Roland Pinsard, the cellist Alain Grange, the guitarist Olivier Benoit and the bassist Bruno Chevillon.

By 2010 he was releasing records on a label he runs, Abalone Productions, which carries his own projects and those of close colleagues. All Around (2010) is a pop oratorio written with the novelist Yann Apperry for the singer and actress Maria Laura Baccarini, followed by her Cole Porter tribute Furrow (2011) and the duo Gaber, io e le cose (2015) on songs of Giorgio Gaber. On the same label he played in Claude Tchamitchian's Ways Out (2012), Christophe Marguet's Constellation (2013), with Steve Swallow and Chris Cheek, and Rousseau's Akasha (2014). In 2015 he formed his quartet with Marc Ducret, the pianist Bruno Angelini and the percussionist Michele Rabbia, created at the Jazz sous les Pommiers festival in Coutances and heard the same year at Jazzdor in Berlin and the Saalfelden festival; the record Equal Crossing followed in 2016. In 2017 he wrote The Ellipse, music for a large ensemble of fifteen players, which was filmed in concert at the Scène Nationale d'Orléans on April 26, 2018, and recorded in July 2022 for a release in 2023.

His later records are mostly in small, electronics-friendly chamber formats. With Chevillon and Rabbia he made Reminiscence, recorded live at a winery in Friuli in 2017 and issued by CAM Jazz in 2018, then Codex III (2021); Quatuor IXI, as Trio IXI, recorded Improvisation at another winery in 2018, and he plays on Ducret's Lady M (2019), the pianist Enrico Zanisi's Blend Pages (2018) and Hans Lüdemann's On the Edges series (2022 and 2023). Inner Hidden (2023) and BLISS (2025), both released by the club Le Triton in Les Lilas, have Rabbia in the band, with the guitarist Eivind Aarset and the trumpeter Tom Arthurs on the first and the trombonist Samuel Blaser, the violist Séverine Morfin, the cellist Clément Petit and Tchamitchian on the second. His own website lists concerts into December 2026, including a solo date at Le Triton in Les Lilas on December 10.

Huby plays an electroacoustic tenor violin alongside acoustic and electric violins, with a looper and effects, and his sound moves between acoustic and effects-laden electric textures. His own biography places him at the junction of contemporary jazz, a chamber-music conception inherited from European culture and the rhythmic machinery of the American minimalists, and it names the archaic strength of Celtic traditions, the energy of jazz-rock and the freedom of improvisation as his first influences. French Wikipedia adds that Bartók and above all Steve Reich gave him a new relation to timbre, rhythm and time. Reviewing Equal Crossing for All About Jazz in 2016, Eyal Hareuveni heard prog-rock atmospheres and a fusion intensity close to the Mahavishnu Orchestra mixed with loose chamber-jazz improvising, with each member of the quartet an equal partner, and noted that the record is a concept piece inspired by Claude Lévi-Strauss's Race and History. His catalogue also reaches toward vocal and stage projects, such as the pop oratorio All Around, and toward contemporary string-quartet writing with Quatuor IXI, so that jazz is the center of a wider, hybrid practice rather than its only strand.