Neil has always been drawn to electronics, video games, computer programming, and animation from as soon as he could get his hands on them. The first keyboard his fingers touched in 1987 sparked his initial interest in creating music, which he was encouraged to explore by his parents working in radio and film. With a grade 8 science project on programming music in the GW-BASIC programming language leaving judges enthralled, if slightly baffled, Neil embarked on the beginning of his explorations leading to an extensive profile of music creation.
Entering his teens, Neil cut his teeth as a keyboard player in a grunge pop band and also experienced recording in studio for the first time. When Neil purchased his first synthesizer workstation with every penny he could save, he started realizing more complex arrangements, leading to scoring university student films while still in high school. This sparked Neil’s ongoing passion for providing music set to visual mediums. His music and post-production engineering skills developed in London at Fanshawe College while studying in the Music Industry Arts program, earning engineering and production awards both years. After graduating, Neil moved to Toronto to officially begin his career.
Starting at Toronto’s Deschamps Studios as machine room assistant and dailies editor, Neil dirtied his hands working on a dizzying amount of commercials for some of the largest brands in operation. However, Neil’s passion for animation brought about six months of persistent phone calls to Nelvana, which let to working in the Music Department as a Music Editor for various animated series.
After Nelvana was bought by Corus in 2001, Neil used this time to further develop his skills in peripheral areas. This led to working in the keyboard/software department of the flagship Long & McQuade store, where he began working relationships with many established composers and became the local go-to for building customized high-end computer DAWS.
In 2004, Neil reconnected with Corus/Nelvana; this time, composing their branding logo, and then scoring 5 shorts for a YTV “Funpack”. This would lead to scoring his first TV series, Pandalian, followed by scoring the complete Bakugan franchise.
Perhaps it was the combination of Neil’s innovative electro-infused orchestral scoring, his incredibly fast turnaround of cues, or his big hair, but this solidified Neil as a premier choice for animation music. In 2009, the popular Japanese series Beyblade returned to the screen, and once again, Neil was a natural candidate for composing the score.
However, Neil always retained his editorial roots; he has provided editorial services for Corus, Breakthrough Entertainment,Halifax Film, E1 and many others, spanning episodic animation, live-action television and feature films. As a composer-editor-tech, Neil has maintained long-lasting relationships with notable Canadian composers for managing complex studio systems, mixing, editing, score preparation, and much more!
With this huge range of skills and experiences, Neil Parfitt offers deep and diverse talent to your project.
In whatever spare time he has left, Neil is also an avid photographer and roams the countryside on his 40 year-old motorcycle.