Peter Schwartz, composer, orchestrator, arranger, pianist, synthesist, and musical director, began piano studies at age 5 and went on to earn a degree in piano performance from Manhattan School of Music. It wasn't long afterward that he began working as a product specialist for New England Digital (Synclavier) and also as a sound programmer and design consultant for Korg. Meanwhile, Peter began to pave his way into the music business, and as a session keyboardist and arranger, eventually amassing a dizzying number of A-list artists to his client roster and discography. Peter has served as musical director for David Bowie, Madonna, The Pet Shop Boys, Enya, and many more. In more recent years, he has endeavored to make his mark as a composer for TV and film, adding Fox, Disneytoons, Warner Bros., Mattel, and The Gates Foundation to his filmography. Peter resides in Los Angeles with his wife Sharon, dogs Boing and Loosie, a bass clarinet and a bassoon.
In this final article in our mini series on the essentials of subtractive / analog synthesis, Peter Schwartz explores the principles of modulation.
In part 3 out our essentials of subtractive / analog synthesis, Peter Schwartz takes us on a journey in sound programming using the envelope generator.
Learn the essentials of subtractive / analog synthesis in this excellent four-part series with Peter Schwartz. Part two delves into the sound creation components of the analog synthesizer.
Learn the essentials of subtractive / analog synthesis in this excellent four-part series with Peter Schwartz. Part one explores the four properties of sound.
Buried in a long list of new features, improvements and bug fixes in Logic Pro 10.1 is an item that will undoubtedly be of interest to score editor users: an option to choose the Bravura font.
When mixing your next project (especially orchestral) spare a thought for your audience. Using pre-fader sends, Peter Schwartz shows how to simulate how sounds will be perceived.
When it comes to building a MIDI Orchestral template (or any style in fact) in your DAW, is it worth the time & effort building a template that could end up being temporary? Peter Schwartz finds out.
Logic Pro X has an impressive Arpeggiator plug-in. It's one limitation? Arpeggiator notes can't be recorded as MIDI in the Piano Roll... or can they? Peter Schwartz shows us how!
We've all used samples. And when it comes to using a sample-based MIDI orchestra, there's a number of techniques and tricks we can use to make them sound more realistic. Peter Schwartz to the rescue.
It's time to take a journey into the world of synthesis with veteran synthesists, Logic guru and musical maestro, Peter Schwartz! Here he explores harmonics, overtones and partials.
Have you ever struggled to set up effects like vocoding or side-chain compression or wanted to set up a headphone mix for a singer in Logic Pro X? Peter Schwartz explains how in his new video course.
In his last mission on uncovering the mysteries of synthesis, Peter Schwartz explored Frequency. Get ready for the big reveal on everything related to filters.
The jury is most definitely in about Logic Pro X, and the overall reaction is very positive. One of the areas to receive some love from Apple was the Score Editor! Peter Schwartz takes a closer look.
Calling all Logic Pro X users dependent on 32-bit plug-ins like Sylenth... aside from our previous solution, there's a more integrated one using VEP. Peter Schwartz walks you through the ins and outs.
What is Logic Pro's Environment? Following on from Part 1, Peter Schwartz sets out to break it down into bite sized chunks. In this article he focuses on the Clicks and Ports layers.
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