As a junior at High School of Architecture, he was looking for partners to play with him in search for a more elaborated rock.
In 1978, he met Paulo Ricardo. They chatted a lot and started a long partnership. They made the band “Aura”, with strong influence of groups of British progressive rock. Aura's life was short but marked a major phase of research, especially for Schiavon, who could write and make arrangements freely. This influenced quite what would be the first phase of RPM.
After the dissolution, while Paulo sought experience playing in the evening and interpreting classics of rock, Luiz Schiavon studied the technology of synthesizers and electro acoustic, this time forming an instrumental trio comprised of keyboards only, named “Solaris”. There were some presentations, including one of success on TV Cultura “Fábrica do show” program, in 1983.
After that, Schiavon turned to English New Wave, where emerging groups as Duran Duran, Depeche Mode and Ultravox among others, used the keyboards in a good pop way.
It was at this time that Paul scribbled with him what would be the band RPM. They began to compose together the basic repertoire of the first album of RPM and as a double, recorded a demo tape and sent it to the extinct CBS, which first rejected their proposal.
Without options to record a disc with this material, Schiavon devoted himself to work as a keyboardist and arranger of several raising artists, while at the same time began the search for a guitarist and a drummer.
He played with singer Mae East (ex-Gang 90) and then he met Fernando Deluqui, who was invited by Luiz to join the band, which then was named RPM. With a contract already signed with CBS for the first "LP", Schiavon asked Paul Pagni to join the band. Thus, by invitation of Luiz, with both Fernando and Paul, they became RêPêMês.
In ’92, he was asked to develop a complex work of outdoor concerts, more or less in the form of presentations by keyboardist Jean-Michel Jarret, to large audiences and with interference in the cities, using elements of architecture for projections stations and lasers.
This project lasted 2 years, sponsored by the Bamerindus Bank, and had about 40 presentations across the south of Brazil, always with audiences over 10 thousand people, culminating with a show in Curitiba, in the delivery of restored Palace Avenue, for 50 thousand spectators.
With the end of this project, Luiz decided to jump off-stage. He moved then to work exclusively at his studio, in Sao Paulo since 1988. Around 1994, he began what has just received the nickname of "fábrica de hits” (same as “factory of hits").
In 1996, he began a new kind of work: composing soundtracks for TV soap operas of Rede Globo – the biggest TV station of Brazil. The first was “O rei do gado” which has four songs of his creation. “O rei do gado,” with “Orquestra da Terra”, “Doce mistério” with Leandro and Leonardo, and “Pirilume” with João Paulo & Daniel, were the most played. In addition to his work as a composer and arranger, he was responsible for the mix of the two sound tracks of this soap opera, which came to the exceptional selling of 4 million copies.
The next project was “Terra Nostra” (1999). With the credibility gained from “O rei do gado”. Schiavon had total creative freedom to write the opening of the novel (and several other songs of the trail), achieving even the participation of English soprano Charlotte Church in a duet with Agnaldo Rayol and participation of the London Studio Orchestra.
Later, it came “Esperança” (2002). Once again, he was free to write the opening track, recorded for the first time in 4 languages, with the participation of Laura Pausini. And the song of “Nina” (Maria Fernanda Candido), “Onde está meu amor”, with RPM.
At the end of 2003, he and Fernando Deluqui were full time in the studio creating the basis for a new band, still unnamed. Andrew Lazzarotto joined them later to form LS&D which six months later finished their first album.
Simultaneously, Luiz is dedicated to compose more music for Rede Globo, this time with the new project “Cabocla”, always in partnership with his friend Marcelo Barbosa. By Marcelo’s suggestion, the song “Madrigal”, included in the CD of LS&D, was proposed and approved as the opening theme.