Problem: Given the question: This article: Rolling Stone critic Alan di Perna praised Gilmour's guitar work as an integral to Pink Floyd's sound, and described him as the most important guitarist of the 1970s, "the missing link between Hendrix and Van Halen". Rolling Stone ranked Gilmour number 14 in their list of "100 Greatest Guitarists of All Time". In 2006, Gilmour said of his technique: "[My] fingers make a distinctive sound ... [they] aren't very fast, but I think I am instantly recognisable ... The way I play melodies is connected to things like Hank Marvin and the Shadows". Gilmour's ability to use fewer notes than most to express himself without sacrificing strength or beauty drew a favourable comparison to jazz trumpeter Miles Davis.In 2006, Guitar World writer Jimmy Brown described Gilmour's guitar style as "characterised by simple, huge-sounding riffs; gutsy, well-paced solos; and rich, ambient chordal textures." According to Brown, Gilmour's solos on "Money", "Time" and "Comfortably Numb" "cut through the mix like a laser beam through fog." Brown described the "Time" solo as "a masterpiece of phrasing and motivic development ... Gilmour paces himself throughout and builds upon his initial idea by leaping into the upper register with gut-wrenching one-and-one-half-step 'over bends', soulful triplet arpeggios and a typically impeccable bar vibrato." Brown described Gilmour's phrasing as intuitive, singling it out as perhaps his best asset as a lead guitarist. Gilmour explained how he achieved his signature tone: "I usually use a fuzz box, a delay and a bright EQ setting ... [to get] singing sustain ... you need to play loudat or near the feedback threshold. It's just so much more fun to play ... when bent notes slice right through you like a razor blade." contains an answer for the question: What is the name of the person that uses a fuzz box, a delay and a bright EQ setting?, what is it ?
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The answer is:
Gilmour

Problem: Given the question: This article: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fredegonde, Saint-Saens wrote twelve operas, two of which are operas comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saens "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saens obviously had no time for Massenet's histrionics". Saint-Saens's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saens's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saens have, in general, the strengths and weaknesses of the rest of his music "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saens drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saens was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less... contains an answer for the question: What is the name of the person who derived the use of leitmotifs from Wagner?, what is it ?
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The answer is:
Saint-Saens

Problem: Given the question: This article: Bitter war widow Janet Ames seeks out the five soldiers for whom her husband gave his life by falling on a hand grenade during the Battle of the Bulge. While crossing a city street to find the first, she is struck and knocked unconscious by an automobile. The police find no identification on her, only a list of names. One recognizes the last name on her list, Smithfield "Smitty" Cobb, a reporter recently fired for alcoholism, and contacts Smitty. When Smitty sees the list, he realizes who she must be. He goes to see her at the hospital, and finds her in a wheelchair, unable to walk. As the doctor can find no physical reason for the paralysis, he schedules an appointment with a psychiatrist. Smitty decides to treat her himself. He introduces himself as a friend of her husband David (though not as one of the men he saved), and wheels her into a private room. She explains her mission: to see if any of the men were worth David's sacrifice, making it perfectly clear that she has already made up her mind. After a nurse gives her a sedative, Smitty accuses her of wallowing in self-pity, then tries to get Janet to change her mind by describing each of the men. He is so vivid that Janet can see and talk to them. The first man she interacts with is nightclub bouncer Joe Burton. He and his singer girlfriend Katie dream of building a house. Joe constructs a model of it from a deck of cards. Exasperated by their unrealistic aspirations, Janet blows the cards down. contains an answer for the question: What is the name of the man who fell on a hand grenade during the Battle of the Bulge?, what is it ?
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The answer is:
David