1 "One thing that I have noticed about my favorite percussion writers in drum corps (yourself, Casella, Johnson, Mcintosh, etc.) is that you guys are all extremely good at writing well thought out musical phrases.  Is this just something that comes with time or is there something in the music that you key in on to pattern a passage after?". - Herschell Clark -

>>Paul: There really is no substitute for writing a lot of music.  In this case, with quantity comes quality.  Studying fundamental compositional techniques of music, regardless of style, applies across the board. I try to get to the root of what the music is saying, what direction it’s taking, without percussion, and everything I do tries to support those ideas.

2 "I heard that you really tested the best sound of the snares by drilling holes in the shells of many many drums? What are the results of these tests and what remarkable things did you find out?". - James McKenzie -

>>Paul: After joining Dynasty in 2007-08 I did a lot of testing and work to try to improve the resonance of the marching drums.  This involved a lot of trial and error, but one of the keys was to let the air escape through carefully placed resonating vents added to the current line of drums. There was a lot of surprising and unexpected results from those tests.  We went with what made the biggest difference and what sounded the best.

3 "First of all I would like to compliment you with your achievements and one hell of a drumline! They sound really "together" and the sound is really balanced. We however have a lot of trouble with tuning the snares, tenors and bassdrums into one cohesive ensemble. Do you have some sort of particular sound you are looking for? How do you get the sound what you want? I really need some good advice". - Marco Klaassen -

>>Paul: Balance and blend is really the key.  I try to make sure no sound “sticks out” when going for a unified ensemble sound.  This has to do with tuning as well as the way the performers approach the music.  Make sure the natural attack of the instrument doesn’t overshadow the length of the note.  Often times, too much muting makes it more difficult to blend.

4 "Do you have a Top 3 of favorite drumlines? Why do you like these three drumlines in particular?". - Stijn Verbrugge -

>>Paul: It’s tough to narrow it down with so many good groups over the years, but all of my favourite groups have a combination of solid writing and a good understanding of the music by the players.
 
Some groups to check out are:
1987 Santa Clara Vanguard
1993 Star of Indiana
1994 Blue Devils
1998 University of North Texas
2007 Phantom Regiment

5 "After achieving so much in DCI, what are you goals for the future?". - Ricardo Martens -

>>Paul: I am starting to write more pieces for soloists and concert percussion ensembles, as well as pieces for instruments outside of percussion.

6 "Is there a Paul Rennick Trademark you use? Every arranger has some phrases which are famous over the years. What's your Trademark?". - John Ancott - 

>>Paul: I really try to approach every piece with a fresh mind and not rely on anything I’ve done in the past.  I want to avoid becoming static, and add something new.  Understanding form and structure helps me come up with material that is appropriate and important to the piece, and if something is memorable, I know I’ve got it right.

7 "How do you still develop your arranging skills?". - John Ancott -

>>Paul: Lots and lots of practice, combined with a true love for what I do.

8 "Do you change your arranging style if you switch to another corps? For example did you write different for Phantom as for Crown? If you did, how did you approach this (Traditions, technique?)". - Mark Davis -

>>Paul: I think the biggest consideration is the musical style of the group I’m writing for.  I try to understand where the group is coming from and support that.  My fundamental approach doesn’t necessarily change.