2020 WM DECEMBER-JANUARY 2021

TOP 100 KITS

Keeping Your Winemaking Pantry Fully Stocked

Recording Wine Notes Like A Pro

Making Grenache Blanc

28 RECORDING NOTES LIKE A PRO

By recording the vital information about each batch of wine you make — from the vineyard through the last sip — it is easier to learn what works, what doesn’t, and what needs improvement in your winemaking.

by Florencia Gómez

34 2020 WINEMAKER INTERNATIONAL AMATEUR WINE COMPETITION

An overview of this year’s wine competition, which received more than 2,500 entries from every U.S. state, five Canadian provinces, and as far away as Australia.

36 15 TIPS, TRICKS, &TROUBLESHOOTING TECHNIQUES FOR KITS

A longtime expert in the kit wine industry, Gail Tufford,

shares advice to 15 of the most common questions she receives from home winemakers.

by Gail Tufford

42 TOP 100 WINE KITS OF 2020

More than 750 wines made from kits were entered across more than 30 categories in the 2020 WineMaker International Amateur Wine Competition. Here are the 100 that scored best.

46 ADDITIVES TO IMPACT PHENOLICS AND TANNINS

Explore the tannin additives and fining compounds that home winemakers may use to modify phenolics and impact color, bitterness, and astringency.

by Dwayne Bershaw

departments

8 MAIL

A reader seeks advice on ways to reduce astringency from an overpressed wine, and another looks for a way around a pulpy situation.

10 CELLAR DWELLERS

Grape skins can be one of the most important components when creating some wines, while being detrimental to others. Scratch the surface of grape skins in “Beginner’s Block.” Plus, familiarize yourself with the Italian grape Pecorino and get the latest products and news.

14 TIPS FROM THE PROS

There are many tannin products on the market — from additions intended during fermentation, cellaring, and finishing. Three pro winemakers share how they utilize these tannin products and why you may want to consider them in your own winemaking.

16 WINE WIZARD

A winemaker asks for some pointers on when to test for sulfite on their wines using their new sulfite testing kit. Also, learn about curing wine plating, basic equipment required for a winemaker making the jump from kits to fresh grapes, and preparing oak for wine.

20 VARIETAL FOCUS

Grenache Blanc is a grape from the northwestern region of Spain and, as the name implies, has evolved from Grenache Noir. Chik Brenneman provides instructions on making this grape shine, starting in the vineyard and taking it through to bottle.

53 TECHNIQUES

For those that are regular winemakers, the accoutrements start to add up through the years. Here is a guide for folks to consider what things to keep in their “winemaker’s pantry,” their uses, and their shelf life.

56 ADVANCED WINEMAKING

The role of oak in our wines can fall on a broad spectrum and the type of oak products used can change the dynamics. Make sure you’ve got the lowdown on the impacts of oak and how it can be manipulated.

64 DRY FINISH

Port wines are famous for being able to last for decades, even centuries. But what about a failing country fruit wine that a winemaker tries to save by fortifying it? Here is a story of being reunited with such a wine 36 years later.

This pocket guide to Jamie Goode’s philosophy at once celebrates and critiques the world of wine.

“An entertaining and deep industry text.”

—Foreword Reviews

“Oenophiles and vintners alike will find provocations, lessons, and pleasures in these smartly opinionated pages.”

Kirkus Reviews, STARRED

“A peek into the mind of this fascinating fellow as he travels the wine world . . . . Highly recommended.”

Wine Economist

www.ucpress.edu

EDITOR

Dawson Raspuzzi

ASSISTANT EDITOR

Dave Green

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Open Look

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Bob Peak

CONTRIBUTING WRITERS

Chik Brenneman, Alison Crowe

Wes Hagen, Dominick Profaci, Bob Peak, Alex Russan

Jeff Shoemaker, Gene Spaziani

CONTRIBUTING ARTISTS

Jim Woodward, Chris Champine

CONTRIBUTING PHOTOGRAPHERS

Charles A. Parker, Les Jörgensen

EDITORIAL REVIEW BOARD

Steve Bader Bader Beer and Wine Supply

Chik Brenneman Baker Family Wines

John Buechsenstein Wine Education & Consultation

Mark Chandler Chandler & Company

Wine Consultancy

Kevin Donato Cultured Solutions

Pat Henderson Kenwood Vineyards

Ed Kraus EC Kraus

Maureen Macdonald Hawk Ridge Winery

Christina Musto-Quick Musto Wine

Grape Co.

Gene Spaziani American Wine Society

Jef Stebben Stebben Wine Co.

Gail Tufford Global Vintners Inc.

Anne Whyte Vermont Homebrew Supply

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Cover Photo Illustration: Charles A. Parker/Images Plus

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My first wine was a 1982 Cabernet Sauvignon from Clarksburg, California that I made with a couple of friends. We picked it on a rainy day in early November and fermented it in the kitchen of our apartment. Surprisingly enough after a little time in carboys and some oak chips it tasted pretty good (for a first effort). We bottled it after eight months. We did not have the resources to test for malolactic completion but we thought “it has to be done with MLF by now.” Famous last words. It tasted great until July when the ML got going again and it started popping corks. Learned my lesson, since then I have NEVER assumed MLF was finished just because it looked like it was done.

The first wine that I ever made was during my post-grad studies — a batch of California Central Valley red Zinfandel. I made 10-gallons (38-L).

Professionally, the first batch I made was a 300-gallon (11.4-hL) batch of Chilean Malbec that, after two years of barrel aging, came out great! The red Zinfandel meanwhile is now my cooking wine at home. It’s 15 years old and makes a great pasta sauce!

The first kit I remember making on my own was a limited release Chenin Chardonnay. I still think about it! This wine was one of the most delightful whites I’ve made, and it taught me that limited releases really are limited. I work for the company that makes them and I still couldn’t get my hands on another kit.

PUBLISHER

Brad Ring

ASSOCIATE PUBLISHER & ADVERTISING DIRECTOR

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ADVERTISING SALES COORDINATOR

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Oak Alternatives

Whether you plan to age your wine in a carboy, demijohn, stainless steel container, or a neutral oak barrel, oak alternative can serve as a substitute to purchasing fresher oak barrels. Familiarize yourself with the alternative oak options. https://winemakermag.com/article/ 802-oak-alternatives

MEMBERS ONLY

Juicy Secrets

Commercial wineries spend tens of thousands of dollars on all kinds of fancy equipment. Can a home winemaker really expect to create the same type of high-quality wines the pros can without spending a bundle? The answer is absolutely yes. https://winemakermag. com/article/412-juicy-secrets

Make Your Kit Wine Shine

All contents of WineMaker are Copyright © 2020 by Battenkill Communications, unless otherwise noted. WineMaker is a registered trademark owned by Battenkill Communications, a Vermont corporation. Unsolicited manuscripts will not be returned, and no responsibility can be assumed for such material. All “Letters to the Editor” should be sent to the editor at the Vermont office address. All rights in letters sent to WineMaker will be treated as unconditionally assigned for publication and copyright purposes and subject to WineMaker’s unrestricted right to edit. Although all reasonable attempts are made to ensure accuracy, the publisher does not assume any liability for errors or omissions anywhere in the publication. All rights reserved. Reproduction in part or in whole without written permission is strictly prohibited. Printed in the United States of America. Volume 23, Number 6: December 2020-January 2021

Today’s top kits produce balanced wines with good character and varietal identity. Still, many home winemakers wonder if they can improve their kits at the carboy. But wine kits respond best to good winemaking practices, rather than manipulations. https://wine makermag.com/technique/459make-your-kit-wine-shine

MEMBERS ONLY

Entering Competitions: Tips From the Pros

Your friends and family think your homemade wines are the best, but are they right? The best way to find out is to enter your wine in a competition. Get some professional pointers from three seasoned judges. https://winemakermag.com/article /1020-entering-competitions

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RED & WHITE WINE FERMENTATION STRATEGIES

REDUCING ASTRINGENCY

I was reading Christina Musto-Quick’s “Fact Check: Winemaking Edition” in the October-November 2020 issue and I kind of relate to point #8 (that speaks to the negative consequences to over-pressing, such as extracting more bitter seed tannins that lead to astringency). In that section, Christina states: “These harsh tannins will create astringency in your wine that you can’t get rid of unless you age for a long period of time or use finishing additives to counteract it.”

I think my wine (a blend of Merlot and Cabernet Sauvignon), which I pressed back in March and put through malolactic fermentation in a 5-gallon (19-L) barrel, has an astringency feel. This is my first attempt at home winemaking and I’m not frustrated, but I want to know if there is a solution for my problem. I had a little hope when I read the last part of the sentence above; that some additive might counteract the astringency. I want to know if you can suggest those additives or any information I should read to educate myself. Everything else with this batch seems good.

Juan Marrero • via email

That’s awesome that you are getting into the hobby of home winemaking and jumping right into it with fresh grapes and barreling your wine! The fact that you’re reading this magazine and already being honest in your evaluation and looking for ways to improve your wine makes us believe you’ll be making great wines very soon! In the meantime, here’s Christina to address your question about that astringency issue your first batch is having: “I would suggest using Noblesse. Adding a dose of Noblesse will help soften your wine’s mouthfeel; giving the perception of a rounder, silky mouthfeel, while reducing any sulfur smells or any burning sensation from high-alcohol or high-acid wines. Another option is gelatin. Gelatin has a negative charge that will attach to proteins and surplus tannins, creating rounder mouthfeel and less astringent wine.”

PUPLPY PETITE SIRAH

I’ve made wine for several years from fresh-pressed juice that I purchased from a local vineyard. For the last six years, I’ve made wine from California grapes (all red and generally four different varietals each year). So I’m relatively new in working with wine from grapes. I always follow the same process with these wines,

Jack Keller, longtime WineMaker author, San Antonio Regional Wine Guild (SARWG) member, and friend passed away on September 13, 2020 at his home in Pleasanton, Texas. Jack was a retired U.S. Army officer, Vietnam War veteran, military historian, wine enthusiast, prolific writer, scientific editor, amateur viticulturist, and home winemaker.

Winemaking was Jack’s passion and for years he made wine from just about anything both fermentable and nontoxic. Jack made more than 2,300 batches of wine, developed scores of recipes, and loved to try exotic or unusual ingredients. And then, he loved to share his experience on his webpage. Jack was six times elected the President of SARWG, he was a certified home wine judge, frequent contributor to WineMaker, creator and author of The Winemaking Home Page and of Jack Keller’s Wine Blog, the very first wine blog on the internet. He experimented with backyard grapes, and recently finished writing a book on winemaking titled Home Winemaking: The Simple Way to Make Delicious Wine that is set to be released in the spring of 2021.

Over the past two decades Jack wrote numerous feature stories on making fruit wines of all sorts in WineMaker; contributing dozens of award-winning, tasty, unique, and sometimes downright strange recipes in these pages. With a heavy heart, we raise a glass to Jack for all he did to introduce so many people to the joys of making your own wine at home.

Florencia Gómez is from Mendoza, Argentina, and started her wine journey in 2008 at Argentina’s National Technological University, where she obtained her winemaking degree. After her first winemaking experience at Achaval-Ferrer in 2010, she has worked nine harvests in Napa Valley, Mendoza, Burgundy, and Croatia, working for LVMH and Trinchero Family Estates, among others. She is currently a Master of Wine student based in London, freelance author, and developer of marketing content for wine brands worldwide via www.flor-gomez.com.

On page 28, Florencia pens her first WineMaker article on the “four W’s and H” on keeping a winemaking log.

Gail Tufford is the Technical Services Coordinator for Global Vintners Inc., the largest manufacturer of craft winemaking kits in the world. Gail has worked in the wine industry since 2007, specializing in craft winemaking and has helped thousands of winemakers across North America.

On page 36, Gail summarizes the most frequent questions she has received from kit winemakers over the past decade-plus in the industry.

but for some reason I get a heavy pulp in my Petite Sirah. My Cabernet Sauvignon, Barbara, Merlot, Sangiovese, and Zinfandel all press nicely with minimal pulp. The Petite Sirah, however, on two different years pressed had 40–50% pulp that didn’t settle out. It just floated for weeks. I use a fine mesh bag in my press to minimize/eliminate anything but juice, yet I’ve had this problem twice with Petite Sirah. Eventually this floating pulp was eliminated after rackings, thus lowering my yield.

What am I doing wrong? Is there anything I can do to avoid this problem in the future? Will extra pectic enzyme help with this problem?

Rich Yoke • via email

WineMaker’s Wine Wizard Alison Crowe responds: “With Petite Sirah you should use rice hulls as a press aid when pressing — usually available as bales/bags at places like Tractor Supply and animal feed stores. Straining through a fine mesh afterwards will help too, to get rid of the biggest particles. I actually recommend that you not use an enzyme on the Petite Sirah grapes in the fermentation but instead use a settling enzyme, and a healthy dose, after pressing. Laffort and Scott Labs are my favorite sources. Also, make sure your enzymes are fresh and have been stored correctly.”

SODIUM HYDROXIDE STRENGTHS

I’ve been using a Country Wines titratable acidity (TA) testing

kit but now the reagents have become a bit old. The NaOH (sodium hydroxide) in the kit was 0.1 N and the replacement NaOH is 0.2 N. It’s been a while since high school chemistry, but I’d like to assume that it will take half the amount of reagent, so I would multiply this amount by two and use this amount with the kit instructions to figure out TA? Let me know what you think.

Jim Skufis • Ann Arbor, Michigan

Yes, doubling the normality just implies doubling the concentration of the solution. They are a linear line until saturation is reached. So half the amount would be used if going with your “full-strength” NaOH. Although, instead of actually cutting it in half, a better approach may be cutting the strength in half with distilled water. This would allow you to be slightly more precise with your estimate when trying to find the endpoint of the titration.

SEND YOUR QUESTIONS TO WINEMAKER

Do you have a question or comment about something you’ve read in the pages of WineMaker magazine or online at winemakermag.com, or a story or idea to share? Send your letters, photos, story ideas, and projects to edit@winemakermag.com, post them on WineMaker’s Facebook page (https://www.facebook.com/WineMakerMag), find us on Twitter: @WineMakerMag, or share your winemaking photos and videos with us on Instagram: @WineMakerMag.

Don’t Miss These Two Great Live Online Boot Camps Coming Up Soon!

Friday, January 29, 2021, Noon to 4 pm (Eastern) – Backyard Grape

Growing with Wes Hagen ($99)

Former professional vineyard manager and WineMaker’s longtime “Backyard Vines” columnist Wes Hagen will lead you live over four hours through all the steps a smallscale grape grower needs to know: Site selection, vine choice, planting, trellising, pruning, watering, pest control, harvest decisions, plus more strategies to successfully grow your own great wine grapes.

Friday, February 12, 2021, 1 pm to 5 pm (Eastern) – Home Wine Lab Tests with Bob Peak ($99)

It’s very difficult to make great wine if you don’t know how to properly and accurately test your wine. WineMaker’s “Techniques” columnist and Technical Editor Bob Peak will take you live step-by-step teaching you how to properly test your wine for sulfites, malolactic, acidity, sugar, and pH. You’ll have the chance to learn visually how to run these tests on your own wines at home.

Each WineMaker Boot Camp Online will be recorded so even if you can’t make it live you can still watch and learn from the video playback as much as you like.

RECENT NEWS

What Makes Vitis vinifera So Special?

Geneticists at UC-Davis have successfully unlocked one of the deeper mysteries surrounding what makes domesticated Vitis vinifera so special in the grape world — the trait that causes vinifera grapes to grow in large and plentiful bunches. Most grape species in the world have male and female plants and their grape bunches can be sparse and irregular. The mystery begins when we learn that male grape vines do have female parts and vice versa. But the female’s pollen will be sterile while male plants have pistils that are reduced and incapable of being fertilized . . . in other words, also sterile. But domesticated wine grapes are hermaphroditic, meaning every vine contains fully functional male and female flower parts. This allows pollination to occur with a very high success rate.

What the scientists found was that it actually required two distinct mutations, in two separate genes, for this transformation to occur. In other words, two mutant wild grapes species must have mated: One a male with unsuppressed female fertilization capacity crossed with a female with unsuppressed male fertilization capacity . . . a recombination event. This “freak” mating event that occurred thousands of years ago gave rise to our fruitful, domesticated grape vine. Why this happened remains a mystery, but how it happened, genetically speaking, can now be explained. https:// www.sciencedaily.com/releases/2020/06/200618150313.htm

Cider Vocabulary Standardization

The USDA (United States Department of Agriculture) announced that they have approved a grant of $500,000 to Virginia Tech and Cornell scientists to standardize the vocabulary used for cider. Currently, definitions for criteria such as sweetness levels are set by the individual cider producer. This can mean that one cidery’s “dry” cider may actually contain quite a bit more sugar than another cidery’s. Their goal is not to dictate how different cidermakers make their beverages, but rather to have consumer’s expectations be met. This is similar in a sense to the way many in the wine industry must comply with rules when describing a newly-released wine, such as varietals versus blends. https://vtnews.vt.edu/articles/2020/09/fst-usda-cider.html

New Products: Fermtech’s a’Pour System

Fermtech has released a new wine dispensing system named a’Pour. The reusable container is designed to preserve 8 bottles (6 L/1.6 gal.) of your wine while eliminating bottling, corking, and labeling. The wine will stay fresh for up to 6 months in the oxygen barrier bag. Each a’Pour system includes a dispenser, pre-sanitized oxygen barrier bag, and a novel Pressure FillerTM to further simplify the filling. To view product videos and learn more, visit their website. www.fermtech.ca

The Goode Guide To Wine

Author Jamie Goode is back at it, bringing his observations, lessons, and opinions that have made him a recognized voice within the wine world. In a series of short and blunt chapters, he celebrates what is exciting and interesting about wine, asks how we could do things better, and points out some of the absurdities of wine culture. Jamie Goode has a distinct philosophy when it comes to wine, and he knows you may disagree; if you do, that means it’s working.

https://www.ucpress.edu/book/9780520342460/thegoode-guide-to-wine

Photo courtesy of istockphoto.com

Photo by Brenda Collins

AWARD-WINNING KITS

Port Style

Mosti Mondiale La Bodega

RJS Craft Winemaking Cru Specialty

Black Forest Port

RJS Craft Winemaking Cru Specialty

Coffee Dessert Wine

RJS Craft Winemaking Cru Specialty

Créme Brûlèe Dessert Wine

RJS Craft Winemaking Cru Specialty

Toasted Caramel Dessert Wine

RJS Craft Winemaking Cru Specialty

Vanilla Fig Dessert Wine

RJS Craft Winemaking Orchard Breezin’

Peach Perfection

Winexpert Après Blackberry Dessert

Wine

Winexpert Après Chocolate Raspberry

Port

Winexpert Peppermint Mocha Dessert

Wine

SILVER

RJS Craft Winemaking Coffee Port

RJS Craft Winemaking Cru Specialty

Raspberry Mocha Dessert Wine

Dessert Wine

Winexpert Après Chocolate Caramel

Dessert Wine

Winexpert Après Dessert Port

Winexpert Speciale Chocolate

Raspberry Dessert Wine

BRONZE

Winexpert Speciale Chocolate Salted

Dessert Wine

Here is a list of medal-winning kits for the Port Style category chosen by a blind-tasting judging panel at the 2020 WineMaker International Amateur Wine Competition in Manchester, Vermont:

Our Red Star range is evolving. New names, the same tradition.

PECORINO PECORINO

An Italian white grape varietal from the rocky, mountainous terrain found in the Marche and Abruzzo regions of east-central Italy. This grape was in slow decline for a long time due to its lower yield than some varietals, but its popularity has grown in recent decades as the trend towards more flavorful wines has breathed life back to Pecorino with the push for quality over quantity. In 2019 there were over 3,000 acres (1,215 ha) of Pecorino planted in Abruzzo and that number is growing quickly. Varietal wines made from its grapes have been noted to have lemongrass, chamomile, and fresh stone fruit character.

One reason some folks may have never heard of Pecorino before is because there are 45 known synonym names for this variety according to the Vitis International Variety Catalogue (https://www.vivc.de/). The grape is known to be strongly resistant to both powdery and downy mildew. It’s an early ripening varietal that often comes in not only high in sugar but also acidity. This provides a nice balance for winemakers to start with. Wines can be still, sparkling (spumanti), or made into dessert wine (passito). If you find it on your wine store shelf, pick up a bottle. You may find a new go-to white.

Photo courtesy of Wikimedia Commons

BY DAVE GREEN

BEGINNER’S BLOCK GRAPE SKINS: START TO FINISH

rape skins play a pivotal role in producing red wines and a lesser role in rosé and white wines. For red wines, the compounds found in them will contribute key coloring compounds as well as flavor and structure to the finished product. The vast majority of these compounds fall into a broad family known as phenolics. The phenolic compounds contained within grape skins can be divided into broad groupings, flavonoids and non-flavonoids. Flavonoids are well-known in the wine (and biological) world with two of the most studied classes being anthocyanins (coloring) and tannins (mouthfeel and structure). The non-flavonoids are less well-known compounds, but some may recognize phenolic acids and stilbenoids (like resveratrol). So now that we have the chemistry names sorted and classified, we can focus on what grape skins do, how they can help or hurt your wine, how to handle them, and finally how best to dispose of them.

KEY PHENOLICS

Not all grape skins are built alike and can have vastly different amounts of the phenolic compounds introduced in the last section. For example, anthocyanins are nearly absent — having been bred out of them — in grapes that are golden-green when ripe. Anthocyanins provide a mix of blue, red, and purple, giving red grapes and wines their characteristic color. White wine grapes in general will have lower anthocyanin content compared to most red wine grapes, even when they do appear fairly red when ripe . . . think ripe Pinot Gris that appears rosy-red to light purple. When it comes to tannins, what you need to understand is that not all tannins are alike. Author Clark Smith compared tannins to snowflakes in that no two are alike. Tannins are actually chains (polymers) of a base flavonoid compound and its length will often determine the characteristic of the tannins in wine. Shorter tannins in general are found more so in young grape skins and grape seeds. Shorter tannins are often

more harsh or rough on the palate with an associated bitterness. Tannins in the skin will polymerize (lengthen) as the grape ripens. The longer tannins will provide more astringency (a well-known drying sensation on your palate) and be much less harsh. Tannins will continue to polymerize during an extended aging period of the finished wine. The polymerization process will continue until the chain is too heavy to remain in suspension and will precipitate out of solution. Just like anthocyanins, different grape varieties will have varying amounts of tannins in the skin. Varietals like Tannat (notice the name similarity) are well known for producing high levels of tannins in their skins and may require extended aging times to allow polymerization to reduce its levels.

KEY FACTORS

The size of the average grape berry plays a factor because it will determine the percent of grape skin, and its associated phenolic compounds, compared to the grape’s pulp. This is a big reason a small-berried variety like Cabernet Sauvignon can produce such bold wines, rich in color and tannins. While in theory small berries will have a higher grape skin-to-grape pulp ratio and will produce wines with higher total phenolic content per grape cluster, the reality is that the grape variety and place where it is grown has a greater impact than simply saying “small berries produce the richest wines.” Also skin thickness can play a contributing role, as not all grape skins are similar in this aspect. Grapes like Pinot Noir are notorious for being thin-skinned. Thinner skins will have less phenolic compounds to offer up.

MACERATION CONCEPTS

For red wines, the maceration (soak period with grape juice and mashed grape solids) is where the magic happens — when the extraction of these key phenolics occurs. Anthocyanin extraction occurs quickly and can be complete in 36–48 hours. Tannins take a longer period with phenolic concen-

tration still on the rise after two weeks. But in this scenario, winemakers need to balance the phenolics most winemakers want from the grape skins being extracted versus the phenolics from the grape seeds that most winemakers want to limit. For more on maceration decisions for red wines, I recommend: https://winemakermag.com/article/ new-skills-master-maceration

For white wines, winemakers may opt to go to press just after crushing the grapes. Some may not even crush at all (whole-cluster press) in order to minimize phenolic extraction from the grape skins since grape skin phenolics are not often a desired component of white wines. But some white and rosé wines will experience a shortened maceration period. Aromatic whites, like Riesling, Viognier, and Chenin Blanc will gain beneficial compounds during this contact time. For a rosé, it’s time to press once the winemaker is happy with the color of the juice.

ONCE PRESSED

Once the juice has been pressed, you need to figure out how to dispose of the grape solids that remain a.k.a. the grape pomace. This may not be too hard if you pressed 100 lbs. (45 kg) of grapes, but if you just pressed 1 ton (910 kg), it may be a challenge. If you have a vineyard or garden, mixing the pomace into the soil can get nutrients cycling back into the roots. But prior to mixing, a composting period should be done. If composting, just be sure to get them well mixed with plenty of nitrogen-rich material like leaves or paper. Do be aware of fruit flies; they love raw grape pomace and juice. Also, in areas that have municipal collection of compostable or yard waste materials, you may be able to include pomace in those special collection cans.

You can also look at doing a second-press run to get a second batch of wine from your red grapes. For more on that, I recommend the following: https://winemakermag.com/ technique/620-second-runs-to-getmore-from-your-grapes-techniques.

TIPS FROM THE PROS

BY DAWSON RASPUZZI

TANNIN ADDITIONS

Intervening when tannins are lacking

A grape’s tannin structure is impacted by varietal, terroir, and growing conditions. Sometimes, grapes lack the tannins desired, and when that happens winemakers have the option of techniques to maximize extraction, adding tannins, blending, and more. Three pros share their approach in this issue’s “Tips from the Pros.”

Iuse exogenous fermentation tannins on almost all of our red wines, vinifera whites, and even some hybrid whites. For red wines, I add fermentation tannins as soon as I crush the grapes. For whites, I generally wait until after the fermentation has started. The purpose of fermentation tannin for red wine is almost purely sacrificial: Adding them at crush helps to scavenge away proteins that would otherwise bind and remove the natural tannins and anthocyanin that are present in the grapes. By removing proteins at crush we’re making the job of co-pigmentation more efficient and effective. For white wines, fermentation tannins do a really good job of refining structure, preventing hazes, and assisting in the release and stabilization of aromatic compounds.

There are some decent cellaring and finishing tannins on the market that do a good job of making slight corrections to wines that are closer to bottling, but I feel like those are far easier to detect and identify as exogenous in the finished product. I’ll use them if I have to, but it’s definitely a last resort.

we’ll leave them for even longer if we’re looking to push a bigger, bolder style. Our default cap management strategy is to give every red fermentation at least two daily punchdowns, but I try to make sure we give them an additional pumpover on a daily basis to introduce a little bit of oxygen and encourage the tannins to polymerize in a way that will make them more stable in the long term. Finally, the amount of pressure applied when pressing off of skins will affect the tannin content of the finished product — higher pressure generally means higher tannin content. Even if you’re looking to separate press fractions, holding on to that heavily pressed wine will give you a great tool to blend into wines that lack structure and volume.

An obvious way to boost tannin is using oak in aging. French oak in particular does an excellent job of contributing tannins and shaping existing tannic structure in an elegant way.

Phil Plummer has been making wine in New York’s Finger Lakes region for over a decade, spending the bulk of those years at Montezuma Winery in Seneca Falls, where he has served as Head Winemaker since 2013. In his time at Montezuma, Phil has taken a lead role in the development and production of a wide-ranging portfolio of wines made from grapes, fruit, and honey, and was instrumental in the launch of Montezuma’s sister wineries, Idol Ridge and Fossenvue.

There are lots of strategies that you can employ to maximize tannin extraction, but I think it really boils down to tweaks on a few parameters: Crush level, contact time, cap management, and press protocol. The degree to which you crush your fruit has a direct impact on the extractability of the tannins present in the skins — if you’re looking for more extraction, skip the whole-berry fermentation. Leaving your red wine on skins for longer and diligently punching down the cap are two more simple methods for improving tannin extraction. We tend to leave red wines on skins for 14 days or so, but

Another option is to blend with a high-tannin wine. The first grape that comes to mind from my own experience is Cabernet Sauvignon, but there are a host of grape varieties worth considering. Some of those would include Tannat, Tempranillo, and Lagrein.

Embracing the grapes you have is another point worth talking about, especially in cool climates. Mother Nature doesn’t always give us the weather we need when it comes to phenolic ripeness and concentration. As a result, winemakers around here embrace fresher, juicier styles of red wines than you might find in warmer climates. That’s not to say that there aren’t years where we can make big, structured reds, but our hallmark style tends to be acid-driven and fruit-focused, with sparing and deliberate use of oak.

For white wines, fermentation tannins do a really good job of refining structure, preventing hazes, and assisting in the release and stabilization of aromatic compounds.

Most of our red hybrids lack tannins and have too much color so the addition of tannins is mandatory for us. We use different types of tannins during all stages of winemaking. For example: In fermentation we use VR Supra and VR Color. They are very handy to protect the natural tannins and to fixing the color. Then after pressing we would consider the addition of quebracho tannins to adjust the level of tannins and build structure, depending on the style needed. And finally, for those that will benefit from barrel aging, finishing tannins will be used. We barrel age using about 1⁄3 new barrels.

When it comes to white wines, we do add gallnut tannins during crushing. This addition helps a lot in protecting the must from oxidation and reduces the amount of sulfites needed to protect the wine.

You have to be careful trying to extract more tannins than what the grape skins and pulp want to give you. When you try manipulating the grapes too much to get their tannins, most of what you will get are seed tannins and herbaceous notes. We never push the extraction too much. A good trick is

to elevate the skin-to-juice ratio by adding our white skins to the reds. We have found Vidal Blanc skins to be very handy in adding tannins to red wines. One should know that this can increase methanol production and great care should be taken if this technique is used in conjunction with extracting enzymes.

It is important to keep in mind that tannin additions are good for adjustments — not for making a wine that the grapes can’t give. In some years when the grapes simply do not develop the tannins close to what is required for red table wines we just don’t make reds. We believe that a good rosé will sell better than an ordinary red.

When the year is very good, we do a saignée out of our red tanks to improve the quality. The juice that is bled off at the start of fermentation will be made into rosé wine, and then we have a higher skin-to-juice ratio to maximize tannins.

For home winemakers working with similar, low-tannin grapes, I would recommend sticking to oak chips and tannins in fermentation. The usage of barrels is not easy and great care must be taken to avoid spoilage. It is so easy to ruin a good wine in a dirty barrel.

As growers of some hybrid varieties we are familiar with grapes that lack the tannin structure we would prefer. For instance, Marquette is always a problem when it comes to tannins. We do work with some Frontenac, however we know it’s very low in tannins so we don’t ask that grape to create a wine that has oaked bouquets and long shelf life.

Since we know the grapes that will require additional tannins early, we begin considering tannin adjustments right at fermentation. In the case when more tannins are needed we do add fermentation tannins and oak at the time of fermentation. Tannin extraction is also hopefully increased by fermentation on the skins for 4-7 days.

Then, tannins via oak barrel maturation time and finishing tannins prior

to bottling will also be added. Lately we have been especially fond of the finishing tannins. Conducting bench trials are essential with these products to make sure you get the amount right.

Blending is another way we can boost tannins in a wine. Tannat is our favorite grape that we use to boost tannins in cold-climate varieties. Of course we have many grapes to blend when creating a higher tannin wine.

With blending and tannin additions we are able to make the wines we want to make. I wouldn’t say we ever really change the type of wines we are going to make based on the level of tannins that the grapes have at harvest.

My final piece of advice for home winemakers is that tasting the juice and wine is essential so you know what you are working with every step of the way. Also, patience is a virtue when it comes to red wine production.

In the aim of realizing one of Stéphane Lamarre’s childhood dreams, he and his wife purchased an orchard in Dunham, Quebec in 2006 and over the years transformed it into a vineyard and cidery named Château de Cartes. They mainly grow hybrid grape varieties that are adapted to the cooler terroir such as Marquette, St-Pépin, and Frontenac.

Lynita May Docken is the Co-founder and Winemaker of Elmaro Vineyard in Trempealeau, Wisconsin. Lynita got hooked on all things wine after retiring as one of three women master plumbers in Wisconsin. She completed her enology certificate from UC-Davis in 2010. Since then she has created award-winning wines ranging from dry oaked reds like Marquette to full, sweet black currant wines.

BY ALISON CROWE

WINE WIZARD FREE SO2 TESTING

Also: Bottle drop, first SO2 addition, and oak sanitation

QLAST FALL, I PURCHASED A VINMETRICA FREE SO 2 TESTER AND TESTED/ADJUSTED THE 10 KITS THAT I HAD GOING. AFTER I ADJUSTED ( BASED ON p H ) I’M BULK- AGING ALL OF THEM IN 6- GALLON (23- L ) CARBOYS. IS THERE ANY REASON FOR ME TO “RE -TEST” THE FREE SO 2 AFTER 12–18 MONTHS, OR CAN I REST ASSURED THAT THEY’LL BE FINE? ( I’M NOT A FAN OF BLIND FAITH, IF THERE’S ANYTHING I CAN DO ABOUT IT!)

PAUL SCOTT SOUTHFIELD, MICHIGAN

AGood for you for investing in a way to track your free SO2 (FSO2) levels. It’s one of the most important ways we can keep our wines safe. You can buy something like a Vinmetrica kit or send out samples monthly to a local wine analysis lab (like ETS here in Napa County), which is what I do for many of my own commercial wines, when the winery I’m working out of doesn’t have its own free-standing lab.

Yes, you just read correctly — monthly. FSO2 gets bound up quickly and is essentially used up in the wine as it reacts with wine components, especially when the wine is young. It’s only a portion of the FSO2 that is doing our antimicrobial and antioxidant work, so depending on the pH of your wine (high-pH/lower-acid wines need more sulfur dioxide to be protected from oxidation and microbial spoilage), you’ll want to keep your FSO2 hovering between 25–35 ppm all the time.

Like I said, it’s standard industry procedure for wineries to sample each lot for VA (volatile acidity) and FSO2 every month. If your VA is climbing and your FSO2 is under 20, it’s a good indication that you’ve got an active bacterial infection and will need to

take quick action. You’re potentially lucky in that you’ve got all of your wine in smaller vessels, so if one vessel goes bad at least (hopefully!) the others won’t have. The downside to your small storage regime is that you’ve got a lot of vessels to sample and keep track of, and you might lose a lot of wine in the process.

So to my small-scale winemaking friends I say this: If you want to save wine, and not sample every single carboy, if your wine batch is all the same, you could potentially only open one of your carboys every month to test. Or you could try testing two different carboys every other month. The point is to try to get a handle on if your VA is climbing and your FSO2 is disappearing at an alarming rate. A normal, ideal rate of FSO2 consumption (loss) for wine that’s at least 6 months old would be losing 4–8 ppm FSO2 every month. It needs to be replaced monthly, too.

I can absolutely guarantee that after 12–18 months of aging, with only one FSO2 check and adjustment in the beginning, your FSO2 will have completely disappeared, your wine will be unprotected, it might have turned to vinegar, and you’ll be very unhappy with the results (unless you were trying to make vinegar, then right on!). So yes,

If your VA is climbing and your FSO2 is under 20, it’s a good indication that you’ve got an active bacterial infection and will need to take quick action.

Photo by Dominick Profaci

The investment in a sulfite testing unit may not be for every winemaker, but for those that are serious about the hobby, you should consider it.

please test your FSO2 once a month, and if you can’t bring yourself to do that, then please do it every other month. Once you get a handle on how quickly the SO2 disappears (or gets turned from “free” to “bound” form), you’ll be better able to predict how often you need to adjust it and how

much you need to add with every adjustment. For more on the forms of SO2 and the testing process, check out my fellow columnist Bob Peak’s piece covering this exact topic found on page 53 of the October-November 2020 issue of WineMaker. Best of luck to you!

QI MAKE A SYRAH/PETIT VERDOT FIELD BLEND FROM A SMALL VINEYARD EACH YEAR AND HAVE HAD SOME COLOR PLATING ON THE BOTTLE. CAN YOU ADDRESS THE CAUSE AND POSSIBLE SOLUTION TO KEEP THE COLOR FROM DROPPING OUT AND STICKING TO THE BOTTLE?

MARK DAWSON SIMI VALLEY, CALIFORNIA

AAs you know, Syrah and Petit Verdot are both highly colored grapes, which, after fermentation and maceration on the skin, means a highly colored wine. If you’re having so much of that color (probably along with tannins, proteins, tartrates, and other solids) deposit on the bottle again and again, this generally means you need to “bulk age” (in carboy, barrel, etc.) for longer before you bottle. This will give all of those solids a longer time period in which to precipitate out — and based on your question, I’d wager you’d like it to happen in a barrel or carboy rather than in your bottles. I’d aim for at least another four months aging before you bottle and if you can take advantage of a cool space for storage, that will help to maximize the amount of solids, tartrates, and other large molecules to fall out of solution. It’s a general rule of chemistry that cold temperatures help dissolved compounds come out of solution — this is why the old method of “cold stabilizing” wine at 32 °F (0 °C) for 2–3 days is just that. You also could try to do some kind of fining, like a protein fining, and chilling the wine (if you can) for longer to try

to help particles drop out sooner rather than later. Protein finings will take out excess tannins and some of the larger molecules found in your wine, hopefully walking the line between taking enough things out of your wine without stripping it too much. At least with these varieties you don’t have to worry about general loss of color and complexity like you sometimes do with lighter wines like Pinot Noir. With fining, it’s always a good idea to perform a set of bench trials in order to find a level that you feel gets the job done without removing too many aroma and flavor compounds.

You don’t want to macerate less or do fewer punchdowns because you do want to make sure that you’re getting all the color and “goodies” for that big style of wine during fermentation. Just make sure that on the back end, post malolactic fermentation, you’re aging the wine at least 18 months before bottling. Definitely age it for longer, if you feel the need, racking it over to another topped-up container. Having wood in a tank or stainless drum will help you to precipitate proteins as well. Wood is good and in this case, time is definitely your friend.

QI’VE BEEN A KIT WINEMAKER FOR ABOUT A YEAR. WITH MORE TIME AT HOME DURING THE PANDEMIC, I’M THINKING OF GETTING A FRESH GRAPE BATCH GOING SOON. I’M PRETTY SURE I HAVE WHAT I NEED ON THE FERMENTATION SIDE OF THINGS, BUT WHAT BASIC EQUIPMENT DO YOU RECOMMEND AS ESSENTIAL FOR ME TO HAVE TO PROCESS GRAPES FOR A 10- GAL. (38- L ) BATCH OF CABERNET SAUVIGNON?

JOSHUA MOUNT LAUREL, NEW JERSEY

AI’ll assume you’re going to do red (not rosé) — that’s the easiest for small-volume winemaking. I’ll also assume you’ll hand-destem, so you really don’t need a de-stemmer. Just get out as many stems as you can by hand. You’ll need a good food-grade fermenter like a small, food-grade trashcan or a bin that you can cover. For sure you’ll need a hydrometer so you can monitor the fermentation and a graduated cylinder to float the hydrometer in.

Then you need to have the ability to strain/press the skins from the juice. Try renting a small fruit press from your local fermentation supply store or borrow one from a

buddy. In a pinch, you can use a colander and cheesecloth or a big dishtowel to drain and squeeze. You might laugh, but I’ve been doing some bucket fermentations this past harvest and have found a special kind of bag really helps me — it’s one of those reusable mesh sacks that some folks use in the supermarket to get their fresh produce. Mine is a small-grade white mesh that’s somewhat see-through. I’m finding it’s the perfect thing for draining my initial fermentations through. I simply hold a big kitchen strainer over the lip of my bucket and “free run” pour most of my new wine out into a new bucket, then scoop my wet pomace into my sack, wrap the ends around a big wooden spoon

WINE WIZARD

and secure with string, then let the whole thing drain over the bucket. In about 15 minutes I give it a squeeze and hey presto (no pun intended), I’ve just “pressed” my wine.

You’ll also need the ability to know when your wine is through the malolactic fermentation (MLF) — I recommend sending a 60-mL (2-oz.) sample to a wine lab like ETS Labs — most states have something similar.

Once through MLF you’ll need some sulfur dioxide to help the wine from becoming oxidized and attacked by spoilage microbes like Acetobacter. I like KMBS (potassium metabisulfite) powder for home winemakers’ sulfur dioxide needs because it’s easy to measure and relatively safe to handle. Also you’ll need some kind of aging vessel, like two 5-gallon (19-L) carboys, and then something to keep smaller volumes in for topping, like your standard 750-mL

(25-oz.) wine bottles with bar-tops (aka T-tops). Keeping your aging containers topped up is key.

Don’t forget that red wines love (and some would argue, need) wood. For carboys, oak beans from companies like Stavin and other suppliers work well because they easily fit into the neck. But for folks that are aging in neutral barrels, I am a fan of The Barrel Mill oak spirals. They fit into the bungholes and give really great quality and flavor in about three months.

With a good fermentation supply store and a wine lab to provide numbers, you’ll be in really great shape. Don’t forget to check out Chapter 2, “Choosing and Using Winemaking Equipment” in my Winemaker’s Answer Book for more details. Winemakermag.com also has plenty of “getting started” columns.

QHOW LONG DO YOU WAIT BEFORE YOUR FIRST ADDITIONS OF SO 2?

AThanks, Bob, for joining fellow columnists and me for our first ever virtual WineMaker Harvest Boot Camp this past September! This question didn’t get answered in my Q&A session held at the end of my “Top 5 Harvest Mistakes to Avoid” talk (there were a number of others that didn’t get answered either that I’ll try to get to in future columns) so, considering the depth of this question, I wanted to cover it here.

SO2, otherwise known as sulfur dioxide, is added as an antioxidant and anti-microbial agent and has been used in winemaking since ancient times. Yeast cells even produce a small amount of sulfur dioxide themselves during the fermentation process, so in fact, there really is no such thing as a SO2-free wine, no matter how many folks touting “natural wine” or other kinds of vinous charlatanism would like us to believe otherwise.

So back to the question of when it’s opportune to first add sulfite to wine: I almost always add a little bit, say around 25 ppm total, at the crusher or juice stage for reds, whites, and rosés. This is to knock down the bacteria and mold populations that came in on the grapes, making room

BOB JOAKIMSON CONCORD, CALIFORNIA

for my Saccharomyces, the good yeast we want, to take hold (they are not as sensitive to SO2). I make a KMBS (potassium metabisulfite) solution and just sprinkle it on the fruit.

For whites and rosés that I do not want to go through malolactic fermentation (MLF), I wait until the wine is settled down after primary fermentation is done (at least 24–48 hours). Next I’ll transfer to a new vessel and add about 30 ppm total to the wine. I’ll wait another 24 hours and make a another addition, making sure I’m measuring about 28–32 ppm free SO2. For reds, which I almost always put through the MLF process after pressing, I’ll perform a test for malic acid to verify that secondary fermentation is complete, then similarly, I rack and make the two SO2 additions to get my free SO2 around the same range.

Be sure to sample your lots monthly for VA (volatile acidity) and free SO2 and make little monthly adjustments to keep your wines 25–30 ppm free SO2 over the life of the wine until you bottle. That being said, make sure you’re keeping your containers topped up as full as possible. Having an untopped container is a recipe for oxidation, VA, and other microbial disasters, and no amount of sulfur dioxide additions will make up for high-oxygen ingress.

I’M CURIOUS TO HEAR YOUR THOUGHTS ON PREPARING OAK ADDITIONS, LIKE OAK CHIPS, CUBES, OR SPIRALS, BEFORE ADDING THEM TO MY MUST OR WINE. SHOULD THEY BE BOILED OR SANITIZED IN SOME WAY BEFORE ADDING OR DO I JUST TOSS THEM IN? I HAVE ALWAYS BOILED MINE FOR 10 MINUTES BUT WONDER WITH ALL THE OAK- Y LIQUID THAT’S LEFT IF I JUST GOT RID OF MOST OF THE FLAVOR.

BRENT KUMFER CARMEL, INDIANA

I never boil or rinse my chips because, you’re right, that’ll strip them of the valuable flavor and aroma right off the bat. The one thing you need to do first, either before you buy chips or before you add them to your wine batch, is to smell them. If they smell moldy, musty, or like TCA (like the water in bagged baby carrots — that’s a great everyday example of what TCA smells like, because they wash those babies in chlorinated water, by the way) then toss those chips or wood out right away. If you can smell the oak pieces you’re going to buy before you buy them, i.e. if the shop lets you sniff the bag you’re about to buy, make sure they smell sweet, slightly toasted (if that’s what you’re buying), and smells like something you’d like to put in your wine. If you smell anything off, do not buy them. Once you get them home, however, it’s up to you to put them in your wine right away, or to store them correctly, away from moisture.

Only buy chips and wood from reputable suppliers with

good turnover. Try to ensure your oak products are sold in their original packaging or make sure your supplier can tell you their chip/wood packaging policy if they re-bag in smaller quantities. I love the spirals for neutral barrels — I think they add really good quality and are super easy to use. I use the ones from The Barrel Mill — good flavor and reasonably priced. For my stainless and glass vessels I like Stavin beans and Radoux’s staves.

Once you buy them you should use them. Opened bags of wood chips are notorious for not storing well, and if they get wet or come into contact with chlorinated water, that’s a perfect recipe for TCA and molds in your cellar and wine. If you’re small-scale and don’t want to spend the money on a big 10-kg (22-lb.) sack of fresh oak beans from a supplier, try to get into a buying scheme with some friends or other members of a home winemaking club. This is something I recommend doing with most supplies anyway — that way everyone’s getting fresh, professional-grade chemicals.

one thing

VARIETAL FOCUS

BY CHIK BRENNEMAN

GRENACHE BLANC

Some lessons from the Old World

Throughout my career at UC-Davis I had the opportunity to make wine from over fifty different varietals. There was a block in the campus vineyard that we referred to as the “Varieties of the World” section. There were fourteen vines per variety, which was just enough to produce one to two carboys of wine that we could use in the teaching program. I nailed some of the varieties right off the bat: Vermentino, Torrontes, and other Muscat-related varieties are a few. Others took some time to perfect. Several Rhône varieties in particular like Marsanne, Roussanne, and Grenache Blanc, all should have done well in the area — but there was something missing. The wines were flat, flabby, and lacking varietal character. This was a good example of winemaking not being just a “plug and play” situation, but rather one that needed more research. The variety that I really struggled with was Grenache Blanc, or GK as we wrote into our blend code for it. As I learned more about Grenache Blanc, I developed an appreciation for how wines are best made in the vineyard. I went back to pictures I had taken the first few years, and those photos told a thousand words. We were not farming the variety correctly for that specific site, and when we changed our farming practices, the fruit and subsequently, the wines improved. They improved so much, that when we planted a new vineyard closer to the new wine institute we selected Grenache Blanc as one of the main production grapes to use for classes.

As the name implies, Grenache Blanc is a white grape. It is prone to oxidation but has the capability to be made into full-bodied wines. It is actually a mutation of Garnacha Tinta, or Grenache Noir, which I have previously covered in this column. You can find

more information about this variety, and others by visiting the Vitis International Database (https://www.vivc.de/ index.php?r=site%2Findex). You should also note another mutation of Garnacha Tinta, and that is Garnacha Roja, also known as Grenache Gris depending on the region where it’s grown.

While I have previously referred to Grenache Blanc in the company of the Rhône varieties, the actual country of origin is to the southwest across the Pyrenees in Spain, where it is known as Garnacha Blanca. It is produced in the northeast Spanish provinces of Catalonia and Aragon as a varietal. It is a Denominación de Origen (DO) permitted principle variety in Alella, Costers del Segre, Tarragona, Terra Alta, Priorat, and the more well-known Rioja, but its vineyard area in Rioja is the least planted of the authorized white varieties, so really, a minor component overall in the final blends.

Back in France, it is a component in the white wines of the southern Rhône, with the largest area in Roussillon. Across the south of France, it is the ninth most planted white grape, just edging out Viognier. Croatia and the Republic of North Macedonia grow it under the name Belan, and it is generally planted in warmer vineyard sites due to its sensitivity to cold temperatures. You won’t find much Grenache Blanc planted in the United States. California has the most reportable acreage at a total of 298 acres in 2019. A majority of it is grown in California’s District 8, which is primarily the Central Coast region, where it first was introduced sometime in the very early 1990s at Tablas Creek vineyards. District 13, in the southern San Joaquin Valley, has the next highest reportable vineyard area. A smattering of Grenache Blanc is found in Oregon, Washington State, Arizona, and Colorado. There is a small subset of my brain

As I learned more about Grenache Blanc, I developed an appreciation for how wines are best made in the vineyard.

GRENACHE BLANC Yield 5 gallons (19 L)

INGREDIENTS

100 lbs. (45 kg) Grenache Blanc fruit or 6 gallons (19 L) commercially available juice, clarified

Distilled water

10% potassium metabisulfite (KMBS) solution (Weigh 10 grams of KMBS, dissolve into about 75 mL of distilled water. When completely dissolved, top up cylinder up to 100 mL total with distilled water.)

5 g Lalvin CY3079 yeast (Lalvin QA23 can be used as a substitute)

5 g Fermaid K (or equivalent yeast nutrient)

5 g Diammonium phosphate (DAP)

Tartaric acid

OTHER EQUIPMENT OR NEEDS SPECIFIC TO THIS RECIPE

5-gallon (19-L) carboy

6-gallon (23-L) carboy

6-gallon (23-L) plastic bucket

Airlock/stopper

Racking hoses

Grape press with a central bladder (if starting with grapes)

Equipment cleaning and sanitizing agents (Bio-Clean, Bio-San, or similar products)

Inert gas (nitrogen, argon, or carbon dioxide)

Refrigerator (~45 °F/7 °C) to cold settle the juice. (Remove the shelves so that the bucket will fit.)

Ability to maintain a fermentation temperature of 55 °F (13 °C) TIP: Use a 33-gallon (125-L) plastic can as a water bath. Place ice blocks in the water to maintain a relatively constant temperature. This will be your refrigeration system for peak fermentation. If you have other means to keep things cool, of course use that. TIP: If you have a need to keep the fermentation warm, wrapping the bucket/carboy with an electric carboy wrap (available at most home winemaking outlets) works well.

Thermometer capable of measuring between 40–110 °F (4–43 °C) in one degree increments

Pipettes with the ability to add in increments of 1 mL

Ability to test or have testing performed for sulfur dioxide, titratable acidity, and Brix

STEP BY STEP

1. Destem and press the grapes. Move the berries directly to the press and press lightly to avoid extended contact with the skins and seeds. (Vertical basket presses may require crushing the fruit.)

2. Transfer the juice to a 6-gallon (23-L) bucket. During the transfer, add 16 mL of 10% KMBS solution — this addition is the equivalent of 40 mg/L (ppm) SO2. Move the juice to the refrigerator set at 55 °F (13 °C).

3. Let the juice settle at least overnight. Layer the headspace with inert gas to protect the juice from oxygen and keep covered.

4. Measure the Brix and titratable acidity of the grape juice.

5. Adjust the acidity to 6–7 g/L using tartaric acid.

6. When sufficiently settled, rack the juice off of the solids into the 6-gallon (23-L) carboy.

7. Prepare yeast. Heat about 50 mL distilled water to 108 °F (42 °C). Measure the temperature. Pitch the yeast when the suspension is 104 °F (40 °C). Sprinkle the yeast on the surface and gently mix so that no clumps exist. Let sit for 15 minutes undisturbed. Measure the temperature of the yeast suspension. Measure the temperature of the juice. You do not want to add the yeast to your cool juice if the temperature of the yeast and the must temperature difference exceeds 15 °F (8 °C). To avoid temperature shock, acclimate your yeast by taking about 10 mL of the juice and adding it to the yeast suspension. Wait 15 minutes and measure the temperature again. Do this until you are within the specified temperature range. You may need to place solution in the fridge to help cool it. Do not let the yeast sit in the original water suspension for longer than 20 minutes. When the yeast is ready, add it to the fermenter.

8. Add Fermaid K or equivalent yeast nutrient.

9. Initiate the fermentation at room temperature ~(65–68 °F/18–20 °C) and once fermentation is noticed, (~24 hours) move to a location where the temperature can be maintained at 55 °F (13 °C).

10. Two days after fermentation starts, dissolve the DAP in as little distilled water required to completely go into solution (usually ~20 mL). Add directly to the carboy.

11. Normally you would monitor the progress of the fermentation by measuring Brix. One of the biggest problems with making white wine at home is maintaining a clean fermentation. Entering the carboy to measure the sugar is a prime way to infect the fermentation with undesirable microbes. So at this point, the presence of noticeable fermentation is good enough. If your airlock becomes dirty by foaming over, remove it, clean it, and replace as quickly and cleanly as possible. Sanitize anything that will come in contact with the juice.

12. Leave alone until bubbles in the airlock are about one bubble per minute. Usually about two to three weeks.

13. The wine is considered dry, or nearly dry when the Brix reaches -1.5 °B or less. Taste the wine, if it is dry, add 3 mL of fresh KMBS (10%) solution per gallon (3.8 L) of wine. This is the equivalent to ~40 ppm addition. Transfer the wine to the 5-gallon (19-L) carboy to eliminate headspace, then lower the temperature to 38–40 °F (3–4 °C).

14. After two weeks, test for pH and SO2 adjust as necessary to attain 0.8 ppm molecular SO2. (There is a simple SO2 calculator at www.winemakermag. com/guide/sulfite). Check the SO2 in another two weeks, prior to the next racking and adjust while transferring.

HINT: Rack to another sanitized 5-gallon (19-L) carboy or into your bucket. In the case of the latter, clean the original carboy and transfer the wine back to it. This is done at about 4–6 weeks after the first SO2 addition. Once the free SO2 is adjusted, maintain at the target level by monitoring every 3–4 weeks.

15. Consult Winemakermag.com for tips on fining and filtration.

16. At about three months you are ready to bottle. Be sure to maintain sanitary conditions while bottling. Once bottled, you’ll need to periodically check your work by opening a bottle to enjoy with friends.

cells that recall we came across some in Michigan at the 2019 WineMaker Conference in Traverse City.

The wines of Grenache Blanc vary, as with most OldWorld varieties. Jancis Robinson reports that when vineyard yields are balanced, it gives the opportunity to produce a

Roussanne, Grenache Gris, and Clairette, depending on the individual AOC rules where it is being made.

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Grenache Blanc is a significant component in various vin doux naturels (VDN) of southern France. The primary blends for these fortified wines are Grenache Blanc, Grenache Gris,

full-bodied, substantial white wine. Combine it with some percentage of oak barrels, and the wines can show very well. Of course you, as the winemaker, are the final determination as to what your final blend percentages should be. As a general rule, for white wines I will only dabble in a small percentage of oak flavors. The propensity for Grenache Blanc to oxidize steers me away from prolonged aging. But this was specific to the fruit I was getting from the UC-Davis vineyards, which in the early years there, was not yielding high-quality fruit. In the south of France, you will find most Grenache Blanc blended with other varieties such as

Macabeo, and Torbato. Macabeo is relatively well known in southern France and the Rioja region of Spain. Torbato meanwhile has been relatively unknown, except on the island of Sardinia and, to a very small extent, in the south of France, where recent DNA profiling found it to be identical to Malvoisie du Roussillon, where it is described as recovering from near extinction.

Vin doux naturels wines are in this case Grenache Blanc blended with the aforementioned varieties. To make vin doux naturels you need relatively high sugars and this happens to be very easy in the south of France due to the heat and the

To make vin doux naturels you need relatively high sugars and this happens to be very easy in the south of France due to the heat and the mistral winds. “

mistral winds. The grapes are harvested, fermentation is initiated, and when the desired sweetness is achieved, the winemaker will make a grape spirits addition. Most research I have found indicates that the best techniques in arresting the fermentation is achieved by adding 95% ethanol as neutral grape spirits. On a home winemaking scale, this product can be difficult to obtain, but I recently Googled “foodgrade ethanol” and was quite surprised on what I found. It certainly was not cheap, but it is possible. For less than 95% ethanol, try to arrest the fermentation, with a combination of spirits and low temperatures. The VDN styles are made in both unoxidized and oxidized styles. The former would include some small percentage of sulfur dioxide as an antioxidant, not focusing on the molecular fraction as much.

Circling back to the wines we affectionately referred to as GK in their blend numbers, you have to ask the question, what happened there? Certainly, that appreciation for how the wines were better when we understood our vineyard practices better. Given that the soil and rootstock we used were likely to create an over-cropping situation, we started thinning the crop at veraison, more specifically, one to two clusters per shoot. These were trained on a traditional bilateral-cordon system. The rows were oriented north-south and we opened up the fruiting zone on the east side to allow indirect sunlight into the canopy. These two practices combined with careful water regulation did wonders to improve the fruit we would be receiving in the winery. Once in the winery, we embarked on destemming the clusters only and pressing only the berries. A soft press was employed to express the juice, enough sulfur dioxide was added to prevent browning, then natural settling of the solids, next a racking, then checking and supplementing the acidity, and finally the yeast. After years, I think I finally got this variety to truly express itself. I used Lalvin CY3079, which can leave a small hint of sweetness in the finish. I did not initiate a malolactic fermentation and, by the time I retired, I finally got it down!

There should be a moral to every

story. In this case, it was: Sometimes these things are just not as easy as they seem! This column has mentioned many times that some varieties can be a challenge, and they, that being the grapes, do not always read the winemaking textbooks we learn from. Grenache Blanc was one of those varieties for me. In any given season, it was a small percentage of the total number of varietal wines I made, and so I could not apply the techniques for say

Chardonnay to Grenache Blanc. Over the years as I honed in on the varietal wines I came to appreciate the true value of blending and understanding that it has been hundreds of years of winemaking in this variety’s home regions that dictated the style for which that grape was best known. Going back to the grape’s roots helped me gain better insight in producing not only Grenache Blanc-based wines, but many of the misunderstood varietals.

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ENTER YOUR BEST HOMEMADE WINES IN THE WORLD’S LARGEST COMPETITION FOR HOBBY WINEMAKERS!

DON’T WAIT — SEND YOUR ENTRIES NOW! ENTRY DEADLINE: MARCH 16, 2021

Enter your wines and compete for gold, silver and bronze medals in 50 categories awarded by a panel of experienced wine judges. You can gain international recognition for your winemaking skills and get valuable feedback on your wines from the competition’s judging panel.

Entry Deadline: March 16, 2021 5515 Main Street • Manchester Center, VT 05255 ph: (802) 362-3981 ext. 106 • fax: (802) 362-2377

email: competition@winemakermag.com

You can also enter online at: www.winemakercompetition.com

SPECIAL BEST OF SHOW MEDALS

will be awarded thanks to our award sponsors:

Grand Champion Wine

WineMaker of the Year

Best of Show Red

Retailer of the Year

Best of Show White

U-Vint of the Year

Best of Show Dessert

Club of the Year

LALLEMAND BREWING

Best of Show Mead

Best of Show Country Fruit

Best of Show Sparkling

Best of Show Estate Grown

Best of Show Kit/Concentrate

Category Medals (gold, silver and bronze) will be awarded thanks to our category sponsors:

19. White Vinifera Bordeaux Style Blends 20. Other White Vinifera Blends

34. Red Table Wine Blend (Any Grape Varieties)

Gino Pinto Inc.

35. Blush Table Wine Blend (Any Grape Varieties)

36. Grape & Non-Grape Table Wine Blend

37. Apple or Pear Varietals or Blends

38. Hard Cider or Perry

39. Stone Fruit (Peach, Cherry, Blends, etc.)

40. Berry Fruit (Strawberry, Raspberry, Blends, etc.)

41. Other Fruits

42. Traditional Mead

43. Fruit Mead

Moonlight Meadery

44. Herb and Spice Mead

Ancient Fire Mead & Cider

45. Flower or Vegetable

46. Port Style

47. Sherry Style

48. Other Fortified

33.

49. Sparkling Grape, Dry/Semi-Dry or Sweet

50. Sparkling Non-Grape

1. White Native American Varietal

2. White Native American Blend

3. Red Native American Varietal

4. Red Native American Blend

5. Blush/Rosé Native American 6. Red or White Native American Late Harvest and Ice Wine

7. White French-American Hybrid Varietal

8. White French-American Hybrid Blend

Varietal

Other White Vinifera Varietals

Ice Wine

RULES & REGULATIONS

1. Entry deadline for wines to arrive is March 16, 2021

Wines are to be delivered to: Battenkill Communications

5515 Main Street Manchester Center, VT 05255 Ph: (802) 362-3981

2. Send ONE (1) BOTTLE per entry. Still wines must be submitted in standard 750 ml wine bottles. Ice wines or late harvest wines can be submitted in 375 ml bottles. Meads and Hard Ciders can be submitted in 12 oz. or 22 oz. beer bottles. Sparkling wines must be in champagne bottles with proper closure and wire. All bottles must be free of wax, decorative labels and capsules. However, an identification label will be required on the bottle as detailed in rule #5.

3. Entry fee is $25 U.S. dollars (or $25 Canadian dollars) for each wine entered. Each individual person is allowed up to a total of 15 entries. You may enter in as many categories as you wish. Make checks payable to WineMaker. Only U.S. or Canadian funds will be accepted. On your check write the number of entries (no more than 15 total) and the name of the entrant if different from the name on the check. Entry fees are non-refundable.

4. All shipments should be packaged to withstand considerable handling and must be shipped freight pre-paid. Line the inside of the box with a plastic trash bag and use plenty of packaging material, such as bubble wrap, around the bottles. Bottles shipped in preformed styrofoam cartons have proven reliable in the past. Every reasonable effort will be made to contact entrants whose bottles have broken to make arrangements for sending replacement bottles. Please note it is illegal to ship alcoholic beverages via the U.S. Postal Service. FedEx Air and FedEx Ground will destroy all amateur wine shipments so do not use either of these services. Private shipping companies such as UPS with company policies against individuals shipping alcohol may refuse your shipment if they are informed your package contains alcoholic beverages. Entries mailed internationally are often required by customs to provide proper documentation. It is the entrant’s responsibility to follow all applicable laws and regulations. Packages with postage due or C.O.D. charges will be rejected.

5 Each bottle must be labeled with the following information: Your name, category number, wine ingredients, vintage.

Example: K. Jones, 9, 75% Baco Noir, 25% Foch, 2016. If you are using a wine kit for ingredients please list the brand and product name as the wine ingredients. Example: K. Jones, 22, Winexpert Selection International French Cabernet Sauvignon, 2016. A copy of the entry form, listing each of your wines entered, must accompany entry and payment.

6. It is entirely up to you to decide which of the 50 categories you should enter. You should enter each wine in the category in which you feel it will perform best. Wines must contain a minimum of 75% of designated type if entered as a varietal. Varietals of less than 75% must be entered as blends. To make sure all entries are judged fairly, the WineMaker staff may re-classify an entry that is obviously in the wrong category or has over 75% percentage of a specific varietal but is entered as a blend.

7. Wine kits and concentrate-based wines will compete side-by-side with fresh fruit and juice-based wines in all listed cate gories.

8. The origin of many Native American grapes is unknown due to spontaneous cross-breeding. For the purposes of this competition, however, the Native American varietal category will include, but is not limited to, the following grape families: Aestivalis, Labrusca, Riparia and Rotundifolia (muscadine).

9. For sparkling wine categories, dry/semidry is defined as <3% residual sugar and sweet as >3% residual sugar.

10. Contest is open to any amateur home winemaker. Your wine must not have been made by a professional commercial winemaker or at any commercial winery. No employee of WineMaker magazine may enter. Persons under freelance contract with Battenkill Communications are eligible. No person employed by a manufacturer of wine kits may enter. Winemaking supply retail store owners and their employees are eligible. Judges may not judge a category they have entered. Applicable entry fees and limitations shall apply.

11. All wines will be judged according to their relative merits within the category. Gold, silver and bronze medals within each category will be awarded on point totals and will not be restricted to the top three wines only (for example, a number of wines may earn enough points to win gold). The Best of Show awards will be those wines clearly superior within those stated catego-

KEY DATES

Entry deadline for wines to arrive in Vermont: March 16, 2021

Wines judged: April 16–18, 2021

Results first announced at the WineMaker Magazine Conference in San Luis Obispo, California May 22, 2021

(Results posted on winemakermag.com)

ries. The Grand Champion award is given to the top overall wine in the entire competition.

12. The Winemaker of the Year award will be given to the individual whose top 5 scoring wine entries have the highest average judging score among all entrants.

13. The Club of the Year, Retailer of the Year and U-Vint of the Year awards will be based on the following point scale: Gold Medal (or any Best of Show medal): 3 points

Silver Medal: 2 points

Bronze Medal: 1 point

The amateur club that accumulates the most overall points from its members’ wine entries will win Club of the Year. The home winemaking retail store that accumulates the most overall points from its customers’ wine entries will win Retailer of the Year. The U-Vint or On-Premise winemaking facility that accumulates the most overall points from its customer’s wine entries will win U-Vint of the Year.

14. The Best of Show Estate Grown award will be given to the top overall scoring wine made with at least 75% fruit grown by the entrant. Both grape and country fruit wines are eligible.

15. All entrants will receive a copy of the judging notes for their wines. Medalists will be listed by category online.

16. All wine will become the property of WineMaker magazine and will not be released after the competition.

17. All decisions by competition organizers and judges are final.

Deadline: March 16, 2021

Entry Fee: $25 (U.S.) or $25 (Canadian) per wine entered

Number of entries _____ x $25 (US) or $25 (CD) = $________Total (limit of 15 entries per person)

q Enclosed is a check made out to “WineMaker” in the amount of $_________.

Name___________________________________________________________________________

Address_________________________________________________________________________

City________________________State/Prov______Zip/Postal Code____________________

Telephone_______________________________________________________________________

E-Mail____________________________________________________________________________

Winemaking Club:________________________________________________________________

Winemaking Retailer:_____________________________________________________________

U-Vint / On-Premise Store:________________________________________________________

Wine Ingredients and Percentage: Please list fruit varieties and percentages used in each wine. Example: “75% Baco Noir, 25% Foch.” If you are using a wine kit for ingredients, please list the brand and product name as the wine ingredients.

Example: “Winexpert Selection International French Cabernet Sauvignon.”

Wine 1 Entered:

Category Number__________________________________________________________

Category Name____________________________________________________________

Wine Ingredients and Percentage

Vintage ____________________________________________________________________

Are at least 75% of the ingredients grown by you? q yes q no q I feel it necessary to decant this wine_______hours before serving.

Wine 2 Entered:

Category Number___________________________________________________________

Category Name____________________________________________________________

Wine Ingredients and Percentage

Vintage ______________________________________________________

Are at least 75% of the ingredients grown by you? q yes q no q I feel it necessary to decant this wine_______hours before serving.

Wine 3 Entered:

Category Number__________________________________________________________

Category Name____________________________________________________________

Wine Ingredients and Percentage

ENTRY FORM

Please note that you can also enter online at:

winemakercompetition.com

Remember that each winemaker can enter up to 15 wines. If entering more than eight wines, please photocopy this entry form. Entry shipment includes ONE BOTTLE of wine per entry. 750 ml bottle required for still wines. Ice or late harvest wines can ship in 375 ml bottles. Still meads can ship in 12 oz. or 22 oz. beer bottles. Sparkling wines must ship in champagne bottles with proper closure and wire.

Send entry form and wine to:

Battenkill Communications

5515 Main Street

Manchester Center, VT 05255

Ph: 802-362-3981 • Fax: 802-362-2377

E-mail: competition@winemakermag.com

If entered online at winemakercompetition. com, please print a copy of your entry form and send it along with your wine.

Wine 5 Entered:

Category Number_________________________________________________________

Category Name____________________________________________________________

Wine Ingredients and Percentage

Vintage ______________________________________________________

Are at least 75% of the ingredients grown by you? q yes q no q I feel it necessary to decant this wine_______hours before serving.

Wine 6 Entered:

Category Number__________________________________________________________

Category Name____________________________________________________________

Wine Ingredients and Percentage

Vintage ______________________________________________________

Are at least 75% of the ingredients grown by you? q yes q no q I feel it necessary to decant this wine_______hours before serving.

Wine 7 Entered:

Category Number__________________________________________________________

Category Name____________________________________________________________

Wine Ingredients and Percentage

Vintage ______________________________________________________

Are at least 75% of the ingredients grown by you? q yes q no q I feel it necessary to decant this wine_______hours before serving.

Wine 4 Entered:

Category Number___________________________________________________________

Category Name____________________________________________________________

Wine Ingredients and Percentage

Vintage ______________________________________________________

Are at least 75% of the ingredients grown by you? q yes q no q I feel it necessary to decant this wine_______hours before serving.

Enter online at: winemakercompetition.com

Vintage ______________________________________________________

Are at least 75% of the ingredients grown by you? q yes q no q I feel it necessary to decant this wine_______hours before serving.

Wine 8 Entered:

Category Number__________________________________________________________

Category Name____________________________________________________________

Wine Ingredients and Percentage

Vintage ______________________________________________________

Are at least 75% of the ingredients grown by you? q yes q no q I feel it necessary to decant this wine_______hours before serving.

by Florencia Gómez

Photo by Charles A. Parker/Images Plus

or winemakers, harvest time is a period of intense activity, and essential decisions and preparations need to happen well in advance of crushing day for things to go smoothly. These decisions include choosing the perfect picking time, taking inventory and/ or buying of all sorts of dry supplies (yeast, potassium metabisulfite, nutrients, etc.), and making sure that all of your equipment is up and running.

No matter your level of winemaking expertise, this article includes everything you need to step up your recordkeeping game for your next batch. Whether you are a first-timer or a senior cellar rat, you have probably heard that “timing is everything” in winemaking. If you prepare well in advance, you will no doubt still be busy, but you will save yourself tons of time, especially when it comes to decision making.

In winemaking, there is only so much that can be controlled — the weather influences the grapes, a cold cellar slows down fermentation, or a random spoilage yeast invades a promising wine. It is wise to keep good records during the winemaking process to maximize control over your wines. Only by logging in dates, treatments, wine analysis, and tasting notes so we have them to review when needed do we learn what works, what doesn’t, and what we need to improve.

Keeping a very detailed log of each wine you make will allow you to track your wine’s daily progress from the vineyard to the bottle, and it is a great reference tool for the next time you want to make a similar wine. When, in a couple of years from now, you want to replicate that fantastic 2020 vintage wine that has continued to evolve into a fantastic vintage in the bottle, you will be thrilled you kept those notes. Which yeast did you use? Did you add malolactic bacteria? Did you adjust the acid? What were the fermentation temperatures?

BENEFITS OF KEEPING A WINEMAKING LOG

A well-kept winemaking log can help you to arrive at smarter decisions and

save tons of time. As the saying goes; if it’s not recorded, it didn’t happen. Here are some of the biggest benefits I see to keeping sound records throughout the winemaking process:

Decision-making: Understanding how much of which additives you’ve put in (and when), and being able to come back to it anytime later will help you to make smarter decisions.

Time saving: In well-kept winemaking records, the log can help you keep the timing of each step straight. Having the information altogether, and somewhere handy, will save you tons of time during those busy days.

Own your wines: In the long run, once you’ve gone through a couple of fermentations, you will be able to own your game and trace those repetitive patterns. It will, for sure, give you a much more insightful understanding of your wines.

Improve and grow: Management consultants say that the key to improvement is setting adequate targets or SMART goals (the acronym is short for specific, measurable, attainable, relevant, and time-bound). In terms of recordkeeping, it is the “M,” or measurable, that is absolutely vital. Without proper records, it would be impossible to measure where you are and to keep track of your progress.

Problem solving: Did you screw up a bit? Having more control over the variables will not only reduce the chances of making mistakes, but if you happen to face some challenges due to an error, it will be much easier for you to pinpoint where things went wrong and approach the problem to solve it efficiently.

WHAT INFORMATION TO RECORD

There is no such thing as the one perfect log that suits all types of winemakers. To make your logs efficient you must choose what’s important for you to record.

As with most activities you set out to do, it is vital to answer the four Ws

(and the one H):

What: If you are getting ready to make your first wine, be aware that down the line, you’ll wish that you had everything all nicely labeled with proper traceability. Come up with names for your lots and make them comprehensive and easily recognizable.

When: As winemaking is all about timing, keeping a close eye on when things happen will give you the right perspective for decision-making. Always write down the dates.

Who: When you are a one-member crew, this is less important, but as teams start growing in number, it is essential to know who did what. Large wineries have protocols set up to understand who was responsible for each step; just in case something happens, you can track it back quickly, understand why, and take preventive actions to avoid a repetition of mistakes. If you make wine with a partner, consider adding this information to your records.

Where: If you have different sizes, shapes, or types of vessels, it is crucial to know where each lot is at a given time. If you have to scatter your winemaking to a few areas in your house, those locations go here too. Save yourself from future headaches.

How much: Quantifying is key! When talking about additions, also make sure you write down the units: 4 g/L are not the same as 4 pounds/gallon, so just writing down “4” won’t get you anywhere when it comes time to refer back to old vintage notes.

Here is a list of the chemical analyses that I believe should always be recorded:

• Brix/sugars

• pH

• TA (titratable acidity)

• VA (volatile acidity)

• FSO2 (free sulfur dioxide)

• TSO2 (total sulfur dioxide)

• Malic acid

• Lactic acid

• RS (residual sugar)

DON’T FORGET ABOUT THE TEMPERATURE!

Chemistry is essential, but the temperature is one of the most critical physical variables in winemaking.

On top of paying close attention to fermentation temperatures, keep an eye on the ambient temperature where you store your wine. It will give you the right frame to understand at what temperature the wine will settle down. If working in a rather cold cellar, all chemical and biological processes slow down and might even stop. Likewise, if your cellar gets too warm, your fermentations will most likely speed up, bringing some negative consequences such as yeast autolysis, or getting a jammy fruit in your wine.

SENSORY NOTES ARE ALSO IMPORTANT

As if you were crafting some new recipe in the kitchen, pay attention to your senses. They are the source of valuable information, and observation is a great skill when making wine.

On your sheet, leave space for “comments,” where you can include some more sensorial observations. Take notes on what the juice looks, smells, or tastes like each time you are working on your wine (like inoculating, racking, filtering, clarifying). Observe how it behaves before and after working on it. This way, you’ll start to have a better grip on how a wine develops from start to finish.

Did something unexpected happen? Did you punch down more often than usual? Write it down, it’s all valuable information.

PRO TIP:

Log your dry supplies as well. On a different sheet, write down all the products you are using, like yeast, tartaric acid, enzymes, tannins, oak, etc. As you receive them, write down the providers, lot numbers, expiration dates. If you have any problems with a specific product, you will be able to track it down.

A good wine log includes statistics and observations for the entirety of a wine’s life. This includes tasting notes, updated as a wine matures in the bottle.

Photo by Shutterstock.com

TRACEABILITY

Traceability is the ability to ensure the tracking, if possible, in real-time, of activities and information flow linking activities. For you to be able to check where your Amazon package is located in real-time, somebody has to log the information in every step of the process. By the same logic, you will have to link the information flow during the winemaking process. Naming your wines with a unique code is the same as having a proper tracking number for your parcel.

A rather logical and well-accepted naming system that is used among commercial winemakers worldwide is as follows:

YY-VAR-#

Where:

YY: Year of vintage (e.g., 18 for 2018).

VAR: The two- to three-letter code for your grape variety (e.g., VIO-CS-PNMAL). In case you work with brands or blends, you can use other three-letter codes.

#: Sometimes a number can be used to indicates the stage of the process, for instance:

1. Alcoholic fermentation complete

2. Malolactic fermentation (MLF) complete

3. Racking out of fine lees

4. Clarified

5. Filtered

So if a tank is labeled 20-MAL-2, it means that it is a 2020 vintage Malbec that is MLF complete. The concept is rather simple, but it helps a lot when working with multiple and different lots.

This naming system is the wine’s ID/tracking number, make sure if you use it that you refer to it identically throughout the whole process.

WAYS TO KEEP YOUR WINEMAKING LOG

We live in a world where handwritten notes are becoming a thing of the past, and electronic recordkeeping is now commonplace. Electronic

records make illegible handwriting a thing of the past and facilitate improved communications.

Hand-held devices allow for easy on-the-go updated records. Shared documents and the sharing of files can significantly improve communication within bigger teams and even those who you share the wine with. Even with these benefits of electronic records, there’s still romance in scratching notes on a pad of paper.

Here are some of the options available for winemakers around the globe today:

1. Pocket Journal

If you are the bohemian type that enjoys writing extensively, you can use a pocket-size notebook and create a daily journal of all the happenings in the winery.

Pros: The addition of lots of detail will enrich your learning process, and you can also add notes on your personal experience.

Cons: Extensive note keeping can be time-consuming, and information can be challenging to find if working with multiple batches.

Note: The 2.0 digital version was developed to keep a daily journal in the Notes app on your phone — sweet and simple!

2. Classic Binder

As if it were the wine’s resume, the ability to keep all the information regarding every wine on one page where it is easily and quickly accessible is very convenient. We have created and shared a comprehensive and easy-touse sample of what this can look like on page 32, which is also available to download in the digital version of this article at https://winemakermag.com/ article/notes-like-a-pro

Pros: Improves time management and eases decision-making.

Cons: Paper can get stained, crinkled, and ripped. To help with this issue you can get a waterproof (wineproof) binder and plastic sleeves to help protect the pages.

3. Digital Excel Spreadsheet

Following up with the “resume design,” having a one-page digital da-

tabase of your wine may be the best option if you are more of a technologically inclined winemaker.

Pros: You can add infinite Excel formulas to be on top of your game. Also, some apps like Evernote or Google Drive will allow you to edit your sheet from your phone, making it super easy and allowing the information to be kept close at hand at all times.

Cons: Let’s face it, for most real-life scenarios, home winemaking doesn’t always imply lots of space, and this often extends to proper office space as well, leading to fewer places to keep your devices handy and dry. And recording notes is best done immediately while they are fresh on your mind.

4. Apps or Traceability Systems

These days, tons of apps are available to help you track every single detail throughout the winemaking process.

Pros: All you need in the palm of your hand.

Cons: Unlike the previous options, they are not available free of cost. Some don’t like looking at small cell phone screens also.

WHAT MAKES THE BEST WINEMAKING SHEET?

Here are seven key ways to create a useful winemaking log that will benefit you in your winemaking venture for years to come.

1. Less is more: Be pragmatic

Be straightforward and think about why you are recording the information and how it will be useful in the future. Only record the truly important information. Sometimes, writing too much just creates clutter and makes it more difficult to find the truly important information.

2. Keep it tidy

Visually appealing and well-organized information is vital. Starting with a clean design will go a long way. Yes, if you are a techy guy/gal, you could create a sexy spreadsheet that calculates it all for you, but be strategic where to invest your time and creativity.

3. Be consistent: Log continuously

Even if the day has been super long, get yourself into the healthy habit of writing down your data on a daily basis. Tomorrow, you’ll find a better excuse not to do it, and by the time something unpredictable comes up, it will be way too late. It will take you much longer to solve problems when you have to go back through everything that happened a long time ago! A continuous log will give you instant and easy access to all your info.

4. Think long term

A complete winemaking log will span from when you get your grapes (or juice) to the day the last drop is gone. When seeking to understand how your wine ages or how to improve your technique, you’ll want to refer to notes from across the entire time. When you’ve got a couple vintages

under your belt you will have enough data so you can compare and contrast, evaluate, and draw conclusions.

5. Have it handy at all times

As much as we don’t want to get our sheets dirty, make sure you keep your notes, no matter how they are recorded, close so you actually use them. It is not serving its purpose if it is lying in the trunk of your car.

6. Be practical

I can’t stress enough how important it is to be functional and realistic. No matter the operation’s size, one must think as though you are keeping records professionally or making wine for that winemaker you admire most.

7. Be open to change

There is no such thing as the perfect log that matches all the requirements

of winemakers the world over, so be open to continuous growth. As is pretty much everything else in winemaking, this is also a matter of trial and error. Observe what works and what doesn’t work for you.

TIME TO RECAP

A winemaking log will help you to make the best and most time-saving decisions throughout the winemaking process. Use a journal, binder, or electronic device equipped with easily updateable spreadsheets or apps — whatever you’re most comfortable with! Traceability will enable you to track each step from the vineyard to the bottle. Be pragmatic, consistent, and think long-term. Finally, don’t forget to log the chemical analyses, dry supplies, temperature, and sensory notes to ensure you’re creating records like a pro winemaker.

A benefit of recording notes on your cell phone or a pocket journal is the ease of keeping them with you everywhere you go. This is especially true if you have your own vineyard, when note taking begins long before harvest.

Photo by Shutterstock.com

2,519 entries judged August 21-23 in Manchester, Vermont

From August 21 to 23, 2020, a total of 2,519 different wines were judged at the Lincoln Family Summer Estate of Hildene in Manchester, Vermont. This year’s judging was postponed three earlier times due to state pandemic mandates and was moved to this outdoor tented location in WineMaker magazine’s hometown for safety reasons. Social distancing, mask wearing when not evaluating wine, and dozens of other precautions were put into place to make sure your wine was judged safely and with the expert thoroughness of prior years.

This year’s competition was again the largest wine competition of its kind in the world. The 2,519 entries arrived from hobby winemakers living throughout North America in all 50 American states and 5 Canadian prov-

inces and as far away as Australia. It continues to be the single largest and most diverse collection of hobby wines assembled annually under one roof. Over the course of three days, experienced judging panels worked through 619 flights, examining each wine using the UC-Davis 20-point wine scale evaluating appearance, aroma, taste, aftertaste, and overall impression. The wines were entered in 50 different categories and included an astonishing array of varietals and wine styles. Kit wines competed alongside fresh-grape entries in this blind tasting. Entries were awarded gold, silver, bronze and best of show medals based on the average score given by the judging panel. The Gene Spaziani Grand Champion Wine award was the top overall scoring wine across all categories. The Club of the Year was given to the club whose members won the

most medals and the Retailer of the Year and U-Vint of the Year awards were given to the winemaking supply stores whose customers outperformed other similar shops. Finally the Winemaker of the Year award was given to the individual entrant who has the highest average score across their top 5 scoring wines in the competition.

Congratulations to everyone who won a medal, and a sincere thanks to our sponsors, Competition Director Ric Quental, Events Manager Jannell Kristiansen, our judges, competition volunteers, and of course everyone who took time to enter and showed great patience as we waited until we could safely hold this judging event. We are already busy planning for the 2021 edition of this competition so get your wines ready for the Tuesday, March 16, 2021 entry deadline! Cheers and thanks for entering your wines!

2,519 entries

619 wine flights

631 total judging hours

50 American states

5 Canadian provinces

6 Countries

GENE SPAZIANI GRAND CHAMPION WINE

Lee Moore • Atlantic Beach, North Carolina

100% Vintner’s Best Peach 2019

SPONSOR:

BEST OF SHOW DESSERT

Joe Pauline • Franklinville, New Jersey

97% Winexpert Selection Port,

3% Ground Coffee and Coffee Beans 2015

SPONSOR:

BEST OF SHOW COUNTRY FRUIT

Brian Cline • Monroe, Wisconsin

100% Winexpert Island Mist Strawberry

Watermelon Shiraz 2019

SPONSOR:

WINEMAKER OF THE YEAR

Brian Cline • Monroe, Wisconsin

SPONSOR:

BEST OF SHOW RED

Donald St. Claire • Angels Camp, California

100% Barbera 2017

SPONSOR:

BEST OF SHOW WHITE

Mark Pausch • Rocky Hill, New Jersey

100% Estate Riesling 2019

SPONSOR:

BEST OF SHOW ESTATE GROWN

Steve and Sylvia Kott • Auburn, New York

100% Estate Marechal Foch 2018

SPONSOR:

BEST OF SHOW MEAD

Anthony Scardaville • Jackson, New Jersey

50% Wildflower Honey,

50% Bochet, Bourbon barrel-aged 2019

SPONSOR:

BEST OF SHOW KIT/ CONCENTRATE

Lucie Doyon • Gatineau, Quebec

100% RJS Craft Winemaking Cru Specialty

Pomme Tatin 2011

SPONSOR:

RETAILER OF THE YEAR

Valley Vintner • Livermore, California

SPONSOR:

CLUB OF THE YEAR

Contra Costa Wine Group • California

SPONSOR:

BEST OF SHOW SPARKLING

Timothy M. Valdez

Colorado Springs, Colorado

100% Willamette Valley Gewürztraminer 2018

SPONSOR:

U-VINT OF THE YEAR

Curds & Wine • San Diego, California

SPONSOR:

A full rundown of the 2020 medalists can be found at: https://winemakermag.com/competition/20compresults

by Gail Tufford

Avoid common kit winemaking pitfalls

Making wine from a kit is the perfect way for a craft winemaker to explore unique varietals from regions around the world that are not typically accessible. With kits, the science behind producing a great wine has been taken care of, while the art of making a great wine is in your hands.

Although wine kits are designed to be user friendly, new and even experienced winemakers can occasionally hit a few bumps along the way.

After more than a decade of answering questions and chatting with home winemakers from around the world, I have been asked plenty of questions and offered many tips. Here, in no particular order, are the most frequently asked questions about wine kits, along with simple solutions for making wines that you will be proud to have in your cellar and share with your friends.

HOW DO I CLEAN AND SANITIZE MY EQUIPMENT?

Keeping your equipment clean is the first rule for winemaking success! Cleaning and sanitizing is a 2-step process. First, clean your equipment by removing soil and stains. Use a wine equipment cleaner and follow the manufacturer’s instructions.

Next, sanitize your equipment with sanitizer solution or potassium or sodium metabisulfite (sulfite), a wine-friendly sanitizer that is inexpensive and easy to use. To make a sanitizer solution, mix 3 tablespoons of sulfite powder into 1 gallon (4 L) of cool water. Dip or spray each piece of equipment that will touch your wine and then rinse with cool water. Be sure to do this before each use. Leftover solution can be stored in a tightly sealed container for two months.

Proper preparation will pay off when you enjoy that first taste from your perfectly crafted wine.

HOW DO I KNOW WHEN MY WINE IS DEGASSED?

It can be hard to know when your wine is sufficiently degassed. The best degassing method is to use a cordless drill equipped with a degassing wand. Drill on medium speed for 2–4 minutes while switching directions to agitate your carboy of wine. Make sure to keep the prongs of the wand well below the surface to discourage the introduction of oxygen into the wine.

Another option is to vigorously stir your wine by hand for 10 minutes

with a winemaking spoon handle. Remember: Degassing wine is not gentle stirring. The purpose is to agitate the wine and knock the CO2 bubbles out of solution.

Use the timer on your phone to make sure you do not over- or underdo it. Over-degassing can cause oxygen to be injected into your wine. Too little degassing and your wine might have difficulty clearing or have a spritzy feel on your tongue.

It is not recommended to allow kit wines to degas naturally. This method extends the time to an un-

predictable length, which doesn’t work with the instructions and runs a risk of oxidizing your wine and exposing it to infection. Adding a few extra days here or there to the process will not make any difference, but lengthy, extended processing time is not recommended.

Here are a couple of ways to tell if your wine is sufficiently degassed:

• Thief out a sample of the degassed wine from the carboy, put it in the hydrometer test jar and give it a good shake with your hand over

Cleaning and sanitizing all equipment (including re-used bottles) is essential to ensuring spoilage bacteria does not find its way into your homemade wines.

Photo by Dominick Profaci

the top. If there is a noticeable “pop” sound when you remove your hand, your wine might need further degassing. If there is only a “pfft” sound, it should be sufficiently degassed.

• It is always a good idea to taste your wine before bottling. If it is spritzy on the tongue, a little more degassing might be needed. If extra degassing is needed, rack your wine off of any sediment before degassing and allow the wine to sit for 48 hours to settle before bottling.

WHY IS MY SPECIFIC GRAVITY LOW ON DAY 1?

Check that the juice base and water mix is filled to the correct primary fermenter measurement. If your kit has a grape skin pack, make sure to add it after reaching the proper fill level. Stir, stir, then stir some more! You can even use your wine whip to mix the juice base and water. For an accurate reading, it is important to take the specific gravity reading right after stirring. Sugars are heavier than water and will naturally sink. This will not affect your fermentation but might skew your day 1 reading.

If your kit has grape skins, it is important to wait 5 to 6 hours after the grape skin addition before taking a reading. This allows time for the sugars in the skins to incorporate into the must. Again, make sure to stir very well before taking your reading. It is nearly impossible to stir too much on day 1.

Adding extra sugar is never recommended. As long as the fill level is correct, the sugars will be at the right level to reach the prescribed alcohol content. While adding extra sugar will bump the alcohol, this can lead to a stuck fermentation and an unbalanced wine that might not have the character and complexity you are expecting.

ARE SULFITE AND SORBATE REALLY ALL THAT IMPORTANT?

It cannot be overstated how important these stabilizers are in the kit winemaking process. Sulfite is a

winemaker’s best friend! It is used for equipment sanitizing, wine stabilizing, and protecting wines while they age in the bottle. Sulfite is an anti-oxidant that preserves the flavor, color, and character of wine and offers protection from microbial infection.

Sulfite is also a naturally occurring by-product of winemaking, which means that there is no such thing as “sulfite-free” wine — it is scientifically impossible!

Sorbate works in tandem with sulfite to ensure that any rogue yeast cannot propagate and spoil your wine after being stabilized. Reducing or omitting sulfite and sorbate is never a good idea but, if the sulfite is omitted, then the sorbate must also be omitted. Otherwise, there is a real risk that your wine will be vulnerable to geranium fault caused by a type of bacteria that feeds on sorbate, which will ruin your wine and potentially contaminate other equipment and batches — not to mention that all of your hard work will go down the drain.

For wines that are backsweetened, like fruit wine and off-dry wine, reducing or eliminating sulfite and sorbate is an absolute no-no, even if you are drinking it quickly. Without the addition of stabilizers there is a risk that these wines will re-ferment in the bottle, pop corks, and cause a mess!

CAN I TOP UP MY CARBOY OF WINE WITH WATER?

Topping up is usually not necessary. As long as the wine reaches the “shoulders” of the carboy, the fill level will be fine during the clearing time as indicated in your instructions.

If your wine is going to remain in a carboy longer than the recommended clearing time in the instructions, it can be topped up into the neck of the carboy with a similar style of wine. Water is never recommended for this because the result can be a watery, weak, and unbalanced wine.

WHY ARE TARTRATES IN MY BOTTLE?

Tartrates, also known as wine diamonds, occur naturally over time.

Tartrate crystals are seen by winemakers and sommeliers alike as a sign of quality and are not considered a fault.

The process is accelerated when wine is exposed to cold temperatures. Avoid temperatures below 55° F (13 °C) — do not leave bottled wine in a cold car, garage, or directly on a cement floor. Cold storage can affect the stability of the wine and allow wine diamonds to form. Decanting or using an aerator with a fine screen effectively keeps tartrates out of your glass of wine. Tartrates will never impart an unpleasant flavor or aroma, however they aren’t necessarily pleasant to have in the glass as it can feel like specks of sand in the mouth. Looking like little shards of glass, they can also cause concern for consumers who are unfamiliar with them.

Cold stabilizing is an easy and effective solution that encourages tartrates to drop from your wine before bottling. You will need refrigeration or a cold garage in the winter. Allow your carboy of finished wine to sit for 3 to 5 days at a temperature hovering around 32 °F (0 °C). The tartrates will drop and the wine can be bottled leaving tartrates behind. The warmer the area, the slower the process will be.

CAN WINE KITS BE MADE IN DOUBLE BATCHES?

Yes, wine kits can be made in double batches. The primary fermenter must be large enough to comfortably accommodate the full contents of both juice bags.

There must also be enough space to add the required water and grape skins, if included, and to allow for foaming during primary fermentation.

The carboy must be large enough to allow all of the wine to be racked into it.

Be sure to add all of the additives included in both kits: Yeasts, clearing agents, oak, and flavor packs or reserves, which are included in fruit, dessert, and most off-dry wines, etc. All are to be added at the appropriate time according to the instructions.

Combining different wine styles is not recommended, as the results can be unpredictable.

“My airlock is not bubbling — help!”

This is probably the most common concern I hear from winemakers. Staring at the airlock is not an accurate way to monitor fermentation. Sometimes, fermentation is quiet and you will not see much action in the airlock or on the surface of the must, particularly if the fermentation area is cool. Other times, the CO2 may be escaping another way.

If you have concerns, monitor your fermentation using a hydrometer. The reading should be lower than it was on day 1 and should continue to drop as the fermentation progresses.

Depending on the temperature of the room and the must, it can take up to 48 hours for fermentation to become noticeable. Wine kits are already balanced with the correct dosage of energizer and nutrient to ensure a complete fermentation. Sometimes, cleaners and sanitizers can impede fermentation; so always make sure to rinse your equipment well after cleaning and sanitizing.

It is best to make your wine within a few months of purchasing your kit. Do not leave kits in your basement for a year or two, as the yeast and other components will expire. Age your wine, not your wine kit!

WHY IS FERMENTATION STILL HAPPENING?

Once again, do not monitor your fermentation by solely looking at the airlock. Carbon dioxide is a

by-product of fermentation and the wine will naturally off-gas through the airlock even after fermentation has completed.

Use your hydrometer. If the specific gravity has not changed after taking readings 48 hours apart, the fermentation is considered complete. Checking the specific gravity with a hydrometer is always the best way to determine what stage you are at in the winemaking process.

WHY WON’T MY WINE CLEAR?

Be patient. A wine may occasionally need extra time to clear. Every fermentation is unique. Most wines will be ready to bottle within the instruction timeline, a batch can sometimes take an extra week or two to clear — this is nothing to worry about. Keep the winemaking area 68–77 °F (20–25 °F) for the entire fermentation process and check your notes to confirm that the proper specific gravity was reached before stabilizing. Ensure that your wine was thoroughly degassed and that all of the additives were added according to the instructions.

If these steps have been completed, then all your wine needs is a little extra time to clear. And whatever you do, never filter or bottle cloudy wine The sediment will pass through most filter pads and your wine will continue to clear in the bottle, resulting in sediment in the bottle and, ultimately, in your glass.

Bottled spring water, or good-tasting tap water or well water works great for making wine kits. Distilled or reverse osmosis water, on the other hand, should not be used as they lack minerals that are beneficial for fermentation.

Photo by Shutterstock.com

Excellent quality drinking water makes excellent quality wine. Good quality tap water works well, as long as it is not overly chlorinated. Well water can be great as it often has a natural minerality, which is helpful for a healthy fermentation and can add a subtle complexity to your wine, but there is always the concern of other microorganisms negatively impacting your wine. It is crucial that the water have no off-flavors or aromas. If you are unsure, bottled spring water is a good choice. Distilled and reverse osmosis water are not ideal for winemaking, as the lack of minerals does not offer a thriving environment for yeast propagation.

CAN I ADD OAK STICKS OR CUBES? DOES THAT CHANGE THE TIMING OF MY KIT?

Tinkering with wine kits is part of the fun of being your own winemaker. Kits come with everything you need to make great wine, including oak if appropriate for that wine style. Generally, kits are guaranteed only if the wine is made following instructions. If you choose to add more oak, it is best to do this during the clearing process and taste your wine every

couple of days to ensure that it does not become too oaky or astringent. Oak is absorbed at a faster rate in alcohol than in must, so it is important to monitor for your desired flavor. Make sure to taste your wine before deciding on extra oak. You may prefer it just the way it is!

CAN I ADD MORE YEAST IF THE WINE STOPS FERMENTING WHILE STILL SWEET?

If a kit doesn’t ferment within the instruction range it is a good idea to ensure that your hydrometer is reading correctly before taking any other action. Restarting fermentation can be tricky depending on how much sugar and alcohol are in the wine, both of which can interfere with yeast propagation. Fermentation is considered complete if, after 14 days, the specific gravity (SG) does not change when re-read in 48 hours. The closer the SG is to being in spec the more difficult it will be to re-start the fermentation, but there is no harm in trying. Use wine yeast that has a good alcohol- and temperature-tolerance. Rehydrate using the package directions. Stir a small amount of must into the hydrated yeast to help it acclimate.

Pour the yeast into the fermenter in smaller drops so that it is evenly dispersed, stir well to inject lots of oxygen, and keep the room warm (mid 80s °F/29–31 °C). Fermentation should re-start within 72 hours.

If the fermentation doesn’t take, you can blend your sweeter wine with a dryer one. You will want to do bench trials to get the percentages right. You might just end up with an excellent limited release!

CAN I AGE AND CLARIFY MY WINE IN A PLASTIC BUCKET?

There are two reasons why clearing wine in a bucket is not recommended. First, the opening is too big, which can cause the wine to oxidize. Second, you will not be able to monitor the clearing process to ensure it is on track. It is recommended to clear wine in a glass or clear plastic carboy.

IS MY WINE RUINED IF ADDITIVES ARE ADDED OUT OF ORDER?

It is very important to add the yeast on day 1. If yeast addition is forgotten or delayed, mold or bacterial infections can develop in the must.

Chitosan and kieselsol work best when added in the correct order, but should still be fine if added out of sequence. You might need to give your wine a few extra clearing days.

It is important that the sulfite/ sorbate packet be added after fermentation is completed to ensure a dry, stable wine. If the sulfite/sorbate is added on day 1, yeast may struggle to propagate and cause a sluggish or incomplete fermentation.

Bentonite can be stirred in after the onset of fermentation with no issue. For most wines, if the flavor pack or reserve is added on day 1, the wine should still ferment successfully. Give the must a good stir and keep it warm. However, the alcohol will be higher and the wine will have a drier profile. The wine can be backsweetened to taste at clearing, if desired.

If oak chips or granules are forgotten, they can be added at clearing. It is a good idea to put them in a muslin bag to help the clearing process.

Photo by Shutterstock.com

This past August, experienced judges evaluated a total of 767 wine kit entries as part of the overall 2020 WineMaker International Amateur Wine Competition that had a grand total of 2,519 entries. This large collection of kit entries was sent into the competition from across North America. The 767 wine kit entries were entered into over 30 different categories and represented a broad selection of varietals and blends from all major kit manufacturers. Over the course of three days, wine judging panels examined all entries, both kit and non-kit, using the University of California-Davis 20-point wine scale giving their scores on appearance, aroma, taste, aftertaste, and overall impression. All judging was done blind meaning those evaluating each entry were given a pre-poured glass of wine with absolutely no identification attached except a tracking number. The judges had no idea whether the entry was made from a kit or fresh fruit. All the judges knew about each entry was the category entered. Entries were awarded gold, silver, bronze, and Best of Show medals based on the average score given by the judging panel. A full rundown of the 2020 medalists can be found at https://winemakermag.com/ competition/20compresults

We’ve found many WineMaker readers looking to purchase a wine kit would refer back to each year’s competition results as a third-party list of specific wine kits that scored well in the blind judging and thus are capable of producing an award-winning wine. Thirteen years ago we decided to go one step further and put the spotlight on the top 100 scoring kits from the competition. What follows is the 2020 ranking based on the average scores given by judges of the top performing kit entries this year. By extending all the judging scores out to the furthest decimal point we were able to compile this ranked list of those kit entries that had the highest average scores in the 2020 competition from among the 767 kit entries.

This kit list represents the top 100 scoring kit entries with the highest average scores from 2020 that have shown the potential in a blind judging format to make excellent wines. We organized these top kits not only in numerical order, but also broken out into general wine style categories for easy reference. Cheers!

Top 100 Wine Kits by Varietal

Note: Number in parentheses is the overall top 100 kit ranking

CABERNET SAUVIGNON

RJS Craft Winemaking En Primeur Winery Series

Australia Cabernet Sauvignon (51)

RJS Craft Winemaking RQ French Cabernet Sauvignon (61)

Winexpert Eclipse Lodi Ranch 11 Cabernet Sauvignon (70)

Vintner’s Cellar Supreme Sterile Juice Cabernet Sauvignon (94)

CARMÉNÈRE

RJS Craft Winemaking RQ Chile Carménère (59)

Vineco Cellar Craft Showcase Chile Carménère (93)

Master Vintner Winemaker’s Reserve Carménère (96)

MERLOT

Vintner’s Cellar Supreme Sterile Juice Merlot (10)

RJS Craft Winemaking Cru International Washington Merlot (23)

Winexpert Eclipse Napa Valley Stags Leap District Merlot (57)

NEBBIOLO

Mosti Mondiale Meglioli Nebbiolo (21)

Winexpert Eclipse Italian Piedmont Nebbiolo (44)

Winexpert Limited Edition Italian Barbaresco (69)

Winexpert Private Reserve Italian Piedmont Nebbiolo (81)

Vineco Atmosphere Italian Nebbiolo (86)

PINOT NOIR

RJS Craft Winemaking Grand Cru Pinot Noir (14)

Winexpert Limited Edition New Zealand Pinot Noir (34)

Winexpert Eclipse Sonoma Valley California Pinot Noir (37)

RJS Craft Winemaking En Primeur Winery Series Australian Pinot Noir (47)

Winexpert World Vineyard California Pinot Noir (48)

RJS Craft Winemaking Cru Select California Pinot Noir (78)

Mosti Mondiale AllJuice California Pinot Noir (90)

SANGIOVESE

Vineco Atmosphere Italy Sangiovese (64)

RJS Craft Winemaking Grand Cru International Italian Sangiovese (87)

SYRAH/SHIRAZ

RJS Craft Winemaking En Primeur Winery Series Australia Shiraz (56)

Winexpert World Vineyard Australian Shiraz (95)

Winexpert Eclipse Barossa Valley Shiraz (98)

RJS Craft Winemaking RQ Australia Shiraz Viognier (100)

OTHER RED VARIETALS

RJS Craft Winemaking RQ Spain Tempranillo (29)

RJS Craft Winemaking Cru Select International Niagara Baco Noir (49)

Winexpert Selection Italian Montepulciano (65)

Vintner’s Cellar Supreme Sterile Juice Bergamais (66)

Mosti Mondiale Vinifera Noble Cabernet Franc (73)

RJS Craft Winemaking RQ Spain Monastrell (84)

Vintner’s Cellar Supreme Sterile Juice Zinfandel (85)

Vineco Cellar Craft Showcase Italian Barbera (97)

RED BLENDS

RJS Craft Winemaking En Primeur Winery Series Spanish Grenache Syrah (19)

Winexpert Eclipse Zinfandel Cabernet Sauvignon (20)

RJS Craft Winemaking RQ Chilean Cabernet Sauvignon Merlot Syrah (28)

RJS Craft Winemaking En Primeur Winery Series

Italian Amarone Style (42)

RJS Craft Winemaking En Primeur Winery Series

Italy Rosso Grande Excellente (52)

Winexpert Selection California Cabernet Sauvignon Merlot (60)

Mosti Mondiale Meglioli Amorosso (63)

RJS Craft Winemaking Cru International Okanagan Meritage (68)

RJS Craft Winemaking Cru Select California Cabernet Syrah Zinfandel (74)

Vineco Passport Series California Grand Red (79)

Vineco Atmosphere Merlot Syrah Viognier Red (80)

Winexpert Limited Edition Australian Cabernet Sauvignon Cabernet Franc Malbec Merlot (92)

CHARDONNAY

Mosti Mondiale Vinifera Noble Chardonnay (24)

Mosti Mondiale AllJuice Master’s Edition Australian Chardonnay (26)

Vineco Atmosphere Australian Chardonnay (67)

Winexpert Selection Australian Chardonnay (89)

Mosti Mondiale AllJuice Chardonnay (99)

SAUVIGNON BLANC

Winexpert Limited Edition New Zealand Fumé Blanc (11)

Vineco Atmosphere New Zealand Sauvignon Blanc (38)

Winexpert Selection California Sauvignon Blanc (77)

Mosti Mondiale AllJuice Sauvignon Blanc (88)

PINOT GRIGIO/GRIS

Vineco Cellar Craft Showcase Yakima Valley Washington Pinot Gris (36)

Winexpert Selection International Italian Pinot Grigio (39)

Winexpert World Vineyard Italian Pinot Grigio (62)

Winexpert Eclipse Washington Yakima Valley Pinot Gris (91)

OTHER WHITE VARIETALS

Winexpert World Vineyard California Moscato (16)

Winexpert Vintner’s Reserve Pinot Blanc (72)

Winexpert Selection California Viognier (83)

WHITE BLENDS

RJS Craft Winemaking RQ Australia Chardonnay Sémillon (32)

Winexpert Selection Pacifica White (50)

Winexpert Limited Edition Spain Milagro Blanco (58)

RJS Craft Winemaking Cru International Bourbon Barrel White Blend (76)

LATE HARVEST & ICEWINE STYLE

Winexpert Après Late Harvest Riesling (4)

Winexpert Selection Spéciale Riesling Icewine Style (12)

RJS Craft Winemaking Cru Specialty Riesling Dessert Wine (31)

Winexpert Après Cabernet Franc Icewine Style (45)

PORT STYLE

Mosti Mondiale La Bodega Port Style (41)

Winexpert Après Dessert Port Style (71)

DESSERT STYLE

RJS Craft Winemaking Cru Specialty Pomme Tatin (2)

RJS Craft Winemaking Cru Specialty Crème Brûlée (3)

RJS Craft Winemaking Cru Specialty Vanilla Fig (6)

Winexpert Après Peach Icewine (7)

Winexpert Après Chocolate Salted Caramel (8)

Winexpert Selection Spéciale Peppermint Mocha (9)

RJS Craft Winemaking Cru Specialty Toasted Caramel (13)

Winexpert Après Chocolate Raspberry (27)

Winexpert Après Blackberry Dessert Wine (30)

RJS Craft Winemaking Cru Specialty Coffee (35)

RJS Craft Winemaking Cru Specialty Raspberry Mocha (55)

GRAPE & NON-GRAPE BLENDS

Winexpert Island Mist Strawberry Watermelon Shiraz (5)

Winexpert Island Mist Peach Apricot Chardonnay (15)

RJS Craft Winemaking Orchard Breezin’ White Sangria (17)

Winexpert Island Mist Raspberry Peach Sangria (33)

Winexpert Island Mist Pineapple Pear Pinot Grigio (43)

Winexpert Island Mist Blueberry Pinot Noir (46)

Winexpert Island Mist White Cranberry Pinot Gris (53)

Master Vintner Tropical Bliss Raspberry Merlot (54)

Winexpert Island Mist Cucumber Melon Sauvignon Blanc (75)

NON-GRAPE COUNTRY FRUITS

Vintner’s Best Peach (1)

RJS Craft Winemaking Orchard Breezin’ Tropical Lime (18)

RJS Craft Winemaking Orchard Breezin’ Peach Perfection (22)

Vintner’s Best Mango (25)

Brewer’s Best Cider House Select Pineapple (40)

Vintner’s Best Blood Orange (82)

by Dwayne Bershaw

Photo by Shutterstock.com

n previous articles on phenolics I have reviewed the basic structure of the most important phenolic compounds in wine production and discussed how different processing and equipment options can impact the type and quantity of phenolics in finished wines. In this article we will explore the additives and fining agents common in commercial wine production and available to home winemakers. These tannin additives and fining compounds may be used to modify the quantity of different phenolic species, and thus impact the color, bitterness, and astringency of the treated wine.

Before we begin this discussion, I should probably take a moment to center the discussion around current trends in consumer perception of wine production and how that may impact actual production practices. The natural wine movement has seen explosive growth in popularity in the last decade despite the fact that a strict definition of what actually constitutes natural or “unnatural” wine has not been agreed upon by the disparate interests that promote these wines. One positive outcome of this movement, and a general trend in the overall food industry regarding “clean labeling,” is that many commercial winemakers now question whether the additives they employ in wine production are really necessary. I think nearly everyone who produces wine shares the philosophy that the goal of wine production is to produce interesting and high-quality wines while utilizing the least amount of additives. Still, there are times where judicious use of additives or fining agents can increase the quality of the wine produced, especially when weather or harvest difficulties have left us with less than ideal fruit. Let’s introduce the different additives and fining agents in general, then investigate how these additives and fining agents are used in white and red wine production.

TANNIN ADDITIVES

Tannin additives offer options for increasing the tannin level at various

points in the winemaking process, from use as an anti-oxidant and color-stabilizing additive on the crush pad to adjusting the mouthfeel and astringency level of finished wines prior to bottling. The word “tannin” is an umbrella term for a whole range chemical compounds found in many different plant species.

Figure 1 shows some of the possible sources of tannin used in commercial winemaking tannin additives. It seems obvious that grape skin and seed tannin and also oak wood-derived tannin should be on this list, but why would additive suppliers offer products made with quebracho wood or oak galls? The reason is that tannins from grapes and oak tend to be expensive due to the quantity of tannin in these materials and the processing required to extract and purify them. On the other hand, the extraction of tannin from other

plant sources is more economical.

In general, it is believed that hydrolysable tannins aid in antioxidation activity and also add to the mouthfeel character (often described as mid-palate fullness) of wines. Thus these types of tannin are often recommended for white wines to limit oxidative browning and add to mouthfeel. They may also be used in fruit damaged by Botrytis in order to bind and remove laccase from must. Laccase is an enzyme that is stable in wine and can cause browning and filterability problems. Hydrolysable tannins do not interact with anthocyanins to promote color stability, so if stable color is a goal (red wines) additives with condensed tannins should be utilized.

The condensed tannins work both as antioxidants and interact with anthocyanins to promote polymeric pigments and long-term color stabil-

types found in winemaking tannin additives

COMMERCIAL TANNIN TYPES

Figure 1: Tannin

Adapted from: Versari, A., et al. “Oenological Tannins: A Review.” Australian Journal of Grape and Wine Research, vol. 19, no. 1, Feb. 2013, pp. 1-10. Wiley Online Library, doi:10.1111/ajgw.12002.

ity. Like hydrolysable tannins, condensed tannins also alter mouthfeel and astringency, with the impact on taste dependent on the size of the tannin polymer.

Many commercial producers of tannin additives offer propriety blends of tannins from several different plant sources. Producers also offer 100% grape-based tannin as well as 100% oak wood-derived extracts. The idea behind these tannin blends are to offer an economical and targeted tannin product for a particular point or purpose in the winemaking process. Thus tannin additives are often marketed in terms of the winemaking timing where they should be added. Fermentation tannins are utilized during crushing, pressing, and fermentation. Cellaring tannins are designed for use after fermentation and pressing are complete, often in conjunction with the micro-oxidation that occurs during barrel aging. Finishing tannins are designed as a final small astringency adjustment, or to add a bit of oak-derived fullness to a wine just prior to bottling.

ENZYMES

Using enzyme additives during crush and fermentation has been shown to increase both color and tannin content in red wines.1 Enzymes, like tannin additives, can be hard to choose as there are many different enzyme preparations offered by suppliers. It’s important to understand that enzymes are catalysts; they are not a substrate for a chemical reaction, but they make particular chemical reactions happen much more quickly than they would without the enzyme. Most enzymes have a fairly restricted number of substrate reactions that they catalyze, thus enzyme suppliers tailor enzyme types and blends in their products to perform specific functions. In wine production, enzymes are used to increase yields in white and rosé wines during pressing, to increase the extraction of aroma compounds in white musts prior to pressing, to aid in clarification and settling of musts, and to increase the extraction of phenolic compounds (both color and tannin) in red wine production. Enzymes most often

work best when added directly after grape crushing.

FINING AGENTS

Fining agents are additives that have an affinity for a target chemical compound in a juice or wine. Most fining agents have limited solubility (don’t dissolve easily) in juice or wine, so they are easily removed from the wine, along with the target compound they have attracted. Previous articles in this magazine have given a good overview of the different classes of fining agents and their target compounds. There are also some excellent resources on the internet with regard to fining agents. The Australian Wine Research Institute (AWRI) provides a good overview here: https:// www.awri.com.au/industry_support/ winemaking_resources/frequently _asked_questions/fining_agents/ , as does Washington State University here: http://pubs.cahnrs.wsu.edu/ publications/pubs/em016/

In terms of phenolics, the most important class of fining agents are the proteins, and the protein-like

Enzymes can be used to increase the extraction of phenolic compounds (both color and tannin) in red wine production when added after the crush.

polyvinylpolypyrrolidone (PVPP). Protein-based fining agents attract tannin molecules because they contain ring-stabilized oxygen atoms that are usually slightly positively charged in wine solutions. These oxygen atoms are attracted to the many ring-stabilized hydroxide units (slightly negatively charged) in tannin molecules.

Common proteinaceous fining agents in winemaking include: Casein, albumin, isinglass, and gelatin. Suppliers of these fining agents offer purified forms of these compounds and may also modify them to change their size distribution and/or make them slightly easier to incorporate into wine. Some suppliers also offer propriety blends of these fining agents combined with other fining agents like bentonite with the goal of improving clarity at the same time as removing bitter or browning agents, and eliminating the possibility of over-fining. Two other fining agents often used to lower phenolic levels in wine are PVPP and activated carbon. PVPP is a plastic polymer, but it has a very similar chemical structure to the active part of the proteins mentioned earlier. Activated carbon is a compound with a tremendous surface area-to-volume ratio, and as such acts as a general attractant to a large number of chemical compounds. Activated carbon for winemaking is usually sold in two types, one designed for reducing color and the other designed for reducing unwanted aromas. The decoloring carbon should be used if color adjustment is needed, but even decolorizing carbon will impact aromas so it is often used as a last resort.

As a general rule protein-based fining agents attract polyphenolic compounds of similar size. Small phenolic molecules are thought to contribute bitter taste to wine, while larger phenolic polymers correlate with the perception of astringency. Color molecules and browning precursors are generally smaller molecules, especially at crush and during fermentation before they have a chance to be incorporated into polymeric pigments. The size range of fining agents for phenolics from smallest to largest is: PVPP, casein,

albumin, isinglass, and gelatin.

As a final thought, you may have noticed that the classic proteinaceous fining agents are all produced by, or products of, animals. Due to concerns about the sources of these compounds and the increasing interest in producing vegan wines, several additive suppliers have obtained regulatory approval for proteinaceous fining agents made from pea or potato protein. Winemakers report that these products work well, although I have heard complaints about aroma changes when these new fining agents are used at high rates, so benchtop trials, our next topic, are important.

IMPORTANCE OF BENCHTOP TRIALS

Manufacturers of tannin additives and fining agents provide standard and maximum dosage rates for their use. If you are unfamiliar with how these products might impact the juice or wine, or when it is difficult to perform a trial (enzyme additions on must are difficult to trial, for instance), using the manufacturer-recommended rates is appropriate. Still, it is difficult to predict exactly what organoleptic impact a given tannin product or fining agent will have on the aroma, bitterness, color, or astringency of a specific juice or wine,

Photo by Charles A. Parker/Images Plus

Performing benchtop trials to determine which additive has the most beneficial impact and what addition rate yields the optimum result is critical when deciding on fining agents.

and there is a definite risk in adding or removing too much tannin or color from a wine. Therefore, winemakers often perform benchtop trials to determine which additive has the most beneficial impact and what addition rate yields the optimum result. In order to perform a trial you will need enough base juice or wine to set up a number of different additives and a range of additive rates, as well as the additives you would like to trial and a method of weighing or measuring relatively small masses and volumes. You will also need to smell and taste through all your samples, so having a well-organized and aroma-neutral space for performing the trial is important. Also having someone else, or a small group if possible, smell and taste with you is always beneficial as other tasters may pick up something you missed or reinforce your own sensory observations. Plus, tasting wine together is always more fun!

To calculate the quantity of additive to add to the benchtop sample volume that will correspond to the addition rate range of your additive trial you will need the assistance of a spreadsheet calculator or an online resource. If you are spreadsheet and math averse a simple calculation sheet from Enartis is available here: https://www.enartis.com/wp-con tent/uploads/2019/04/Lab-BenchTrials_17.pdf. AWRI also has a more complex online fining trial calculator that allows you to enter a couple of range parameters and the sample volume. It produces a chart of the addition rates based on the sample volume and can be found here: https:// www.awri.com.au/industry_support/ winemaking_resources/calculators/ fining-trial/

WHITE, SPARKLING, AND ROSÉ PRODUCTION

Since phenolic concerns in white, sparkling, and rosé production are quite similar we’ll discuss these wine styles at the same time. In white wines it is most common that phenolic compound levels need to be reduced, thus fining agents are employed to bind with and remove phe-

nolic compounds. While uncommon, there is at least one reason for using tannin additives in white wine production, and that is in the case of mold-damaged fruit with Botrytis infection. I covered the most common fining agents in “Phenolics & Tannins in White, Sparkling, and Rosé Styles” from the June-July 2020 issue, but we’ll summarize that information again here for quick reference.

PVPP is often used in white wine production to limit browning and pinking color precursors, as well as to remove bitterness (often in combination with another protein-based agent like casein or gelatin), and as a clarification aid. PVPP is a pretty gentle fining agent (doesn’t impact aromas) and is easily removed from wines with filtration. Casein and gelatin are also commonly used in white wine production to remove browning agents, lessen the bitterness and astringency profile, and as a clarification aid.

Casein is thought to be gentler than gelatin and is easily removed from wine, but it is so slightly soluble that it can be difficult to incorporate into the liquid. Some commercial formulations modify the casein with potassium to make it easier to dissolve.

Gelatin is better at removing larger tannin molecules than smaller ones, so it is often employed to reduce astringency. Using too high a dosing rate of gelatin can impact the aroma and leave gelatin in the wine, so fining trials are important and some winemakers counter fine the gelatin with bentonite or silica gel to ensure all the gelatin is removed. Winemakers often use these fining compounds prior to fermentation because they believe the potential aroma impact is lower at the juice stage, but it is also possible to use these fining compounds after fermentation is complete.

Isinglass has a relatively low impact on phenolics and is therefore added more to eliminate haze and promote clarity in whites than to impact bitterness or astringency.

RED WINES

Red wines can have problems of not

enough, or too much, tannic astringency. Red wines may also have issues with browning. Because different additives have impacts in different stages of the winemaking process for reds, we’ll discuss common additives at each stage.

Crushing and Fermentation:

As we mentioned earlier, enzymes that break down skin cells have been shown to increase anthocyanins and tannins in the finished wines. These are usually added at the crush pad and work their magic prior to and early in fermentation. Fermentation tannins may also be added at the crush pad and can serve three important purposes. First, they can limit oxidation of other critical components in the juice for red musts with low tannin levels and those that may be impacted by mold. Grape-based tannins or tannins from other plant sources may be used for this purpose. Second, they can kick start the process of anthocyanin and tannin integration for producing stable color. Third, they can add tannin to begin building the tannic structure that leads to the astringency of the finished wine. Grape-based tannins are utilized for these benefits.

There is a caveat to building tannin structure early when working with hybrid grapes. Hybrids have been shown to have more and different proteins than vinifera varieties, and research has shown that standard tannin addition rates prior to pressing did not seem to increase the tannin level in the finished wine.2 For this reason it may be more prudent to add tannin during cellaring to increase astringency for hybrid wines. Some producers also market their products as having the ability to lower herbaceous aromas in under-ripe fruit. I haven’t seen research evidence of this impact but I’ve heard several commercial winemakers state that this is one of the reasons they use these products. Wood-based tannins are often used for this purpose. Thus commercial tannin suppliers often develop tannin blends from different sources to support a range of stylistic goals in the fermentation stage.

Cellaring and Aging:

Once fermentation is complete and the wine has been pressed off the skins, cellaring and aging tannins may be employed. Grape-based tannin additions at this point help build tannin structure for grapes with limited tannin, as well as continuing to integrate anthocyanins into tannin structure for color stability. Wood-based tannins may also be added during cellaring to add body and increase the mouthfeel of young wines. The traditional method of adding wood tannin is the use of new or almost-new barrels. Barrel alternatives like chips and staves are also a popular method of adding wood tannin. Commercial wood-based tannin preparations are thus a continuation of the innovation of using chips and staves. Cellaring tannins may be 100 percent sourced from grape or oak wood, or may be a combination of wood and grape tannin to promote the goals mentioned above. It can be a little difficult to judge how tannin additions during cellaring will impact the wine after aging, so a measured approach to additions over the course of several vintages, or setting up trials with different lots of wine to judge the impact, is a prudent approach.

I can’t think of a reason a winemaker might want to decrease color in a red wine, but during the cellaring and aging of reds a winemaker may decide that the bitterness or tannin profile needs to be decreased. Egg whites, whose primary protein is albumin, is a very traditional method of reducing astringency in red wines (it is not recommended

Photo by Shutterstock.com

USES AND IMPACTS

TANNIN ADDITIVE TYPE

in whites due to the potential for protein instability). Gelatin is also a popular fining agent for reds to reduce bitterness and astringency. Details on the use of these fining agents may be found in the references at the end of this article.

Finishing:

Finally, finishing tannins are designed to tweak the tannin profile or add some body and fullness to a wine just prior to bottling. These tannins are often wood-based and may also alter the aroma of the wine slightly to give it a bit more oak-derived polish. Benchtop tannin trials should definitely be performed with tannin additions prior to bottling to guard against a dramatic change in aroma, mouthfeel, or astringency that might overpower the other components in the wine.

A FINAL WORD ON BALANCE

We’ve discussed how the phenolic profile of wines impact taste and mouthfeel as well as ways to adjust anthocyanin and tannin content in the cellar, both with processing choices and the use of additives. As a final thought it’s important to understand that wine phenolics are found in a complicated matrix of water, alcohol, acid, polysaccharides, proteins, aroma compounds, and perhaps sugar, all of which impact how we perceive bitterness, astringency, and body in wine. So, besides changing the actual tannin content in wine it is also possible to adjust astringency perception by changing the acid level, sugar and alcohol content, and body of the wine.

Higher acid levels increase the perception of bitterness and astringency. Higher sugar and alcohol levels, as well as increased body, decrease the perception of astringency. Adding a bit of residual sugar to wine at bottling is a well-known tool to take the edge off both high acid levels as well as bitterness and astringency. Blending is also a traditional method of achieving balance in wine by combining together the elements of separate wines that, when brought together, make a more balanced whole. There are other winemaking additives that impact the body of wine, such as polysaccharides, gum arabic, and mannoproteins. As in all aspects of winemaking, there are a lot of options and no single one is the correct way to make a pleasant, balanced wine. That’s part of what makes winemaking so enjoyable.

REFERENCES

1 Soto Vázquez, E., Río Segade, S., & Orriols Fernández, I. (2010). “Effect of the Winemaking Technique on Phenolic Composition and Chromatic Characteristics in Young Red Wines.” European Food Research and Technology = Zeitschrift für Lebensmittel-Untersuchung und -Forschung, 789–802.

2 Manns, D. C. (2013). “Impact of Processing Parameters on the Phenolic Profile of Wines Produced from Hybrid Red Grapes Maréchal Foch, Corot noir, and Marquette.” Journal of Food Science, vol. 78, no. 5, pp. C696–702.

THE WINEMAKER’S PANTRY

Supplies to keep on hand

When starting out, a home winemaker will typically make a list of needed supplies and visit the local home winemaking shop (or go online) and buy just what is needed for now. Make wine a few times, though, and you find that some products come up again and again, making them like staples in a kitchen pantry. This column addresses the numerous types of pantry materials, what their uses are, how much to keep on hand, storage conditions, and shelf life estimates. Cost is also considered.

Most of the time, we buy living fermentation products for a specific project. For yeast, you make a careful selection based on grape or juice variety, your fermentation conditions, and desired wine style outcome. A common rule-of-thumb for the dose of active dry wine yeast is one gram per gallon (4 L) of must or juice. I usually estimate that I get about 10 gallons (38 L) of red wine must or 6 gallons (23 L) of pressed white juice per 100 lbs. (45 kg) of fresh grapes. Dry wine yeast is sold in small packages of 5–10 g and sometimes in quarter-pound (113-g) or 500-g pouches. Once I estimate how much I need, I usually spend just a few dollars more and buy about 10% over my estimate. It doesn’t hurt to over-inoculate a bit (up to a factor of 2x has no negative effect) and you just might get more juice yield than you expected.

I keep two categories of yeast in my pantry. The first is surprise winemaking. Living as I do in Sonoma County, California, I occasionally run across unexpected grapes available during harvest season. If that happens, I like to have a great general-purpose yeast like Lalvin

EC-1118 or Red Star Premier Rouge on hand. These spot projects rarely exceed about 250 lbs. (113 kg), so keeping 30 g or so of yeast on hand at a cost of about $10 is good preparation. The other on-hand purpose is the potential for a sluggish or stuck fermentation where you might have to re-inoculate. For that, I recommend another 30 g or so of a strong fermenter like EnartisFerm WS or Uvaferm 43. While your primary yeast selection is likely to be used right away, you can store these “pantry” yeasts in the fridge for at least a year. In the original bulk packages, factory shelf life estimates under good storage conditions go as long as four years. Leave your yeast in its original packaging, mark the date you bought it on the label, and carefully reseal a package if you do not use the entire amount at once.

I purchase malolactic bacteria (MLB) every year. Most red wines, plus some Chardonnays and Sauvignon Blancs, are put through malolactic fermentation (MLF) at or near the end of primary fermentation. If you have used barrels that have previously contained MLF activity, you may not need to inoculate. For the rest of us, buying freeze-dried or refrigerated liquid MLB culture are the best choices. This is one area where I do not keep any “pantry” supply. Three reasons drive my “purchase as needed” decision. First, it is easy to tell how much I will need and when because I inoculate for MLF when the wine reaches zero °Brix (about dry), so I am already observing the timing and volume. Second, these bacteria cultures are less rugged than yeast and typically have shorter shelf lives — months for the liquid cultures and a year or two for the frozen ones. Third, they are fairly expensive for the volume treated. The liquid pouches from Wyeast and White Labs each

BY BOB PEAK

Photo by Bob Peak

While your primary yeast selection is likely to be used right away, you can store these “pantry” yeasts in the fridge for at least a year.

Experienced winemakers will gather supplies through the years. But how long are they good for and are there any others you should have?

TECHNIQUES

inoculate six gallons (23 L) of wine and sell for about eight to ten dollars. The freeze-dried cultures are typically packed for 66 gallons (250 L) of wine and sell for $20 to $40 per pack. Producers do not recommend keeping a partial pack. It does not hurt to use more than the recommended dose, so if a six-gallon (23-L) pack or two won’t meet your volume, go ahead and buy freeze-dried and use the whole envelope. Keep liquid culture in the fridge and freeze-dried in the freezer.

Some enzyme preparations may also be subject to shelf life concerns. These are products added at crush to improve juice yield and maceration, plus related materials added later to finished wine to aid clarification. Available as liquid solutions or as granular solids, store them in the original plastic containers. Many will be marked with a shelf life, but assume one to two years if not. Liquids must be kept in the refrigerator, but the solid products are shelf stable. Because of that difference, I prefer to keep solid materials like Lallzyme EX or Lallzyme Cuvée Blanc on hand in case more grapes or an unexpected project come up. Since you only need 10 g per 1,000 lbs. (450 kg) of grapes and they cost only about $1 per gram, it’s worth it to keep some on hand.

Much more shelf stable are tannin products. Mostly derived from wood, products like FT Rouge Soft from Scott’Tan or EnartisTan Rouge are rated for storage up to five years. For red wines they can serve as “sacrificial” tannins during primary fermentation, combining with other grape components and dropping out. That process leaves more of the original grape

tannins available in the wine, improving stability and providing resistance to oxidation. White wine tannin preparations are added to juice before fermentation to help minimize oxidation and improve the wine’s mouthfeel. Because they are versatile, stable, and used in small quantities, I keep both red and white tannin products on hand. Date the label and figure on a good five years of potential use. Closely related tannins for later use in fining or aging can be handled the same way.

Nutrient products like Lallemand Fermaid K or Enartis Nutriferm are also stable. Typically containing DAP (diammonium phosphate), inactivated yeast hulls, and other natural materials, they should keep at least four years in original packaging. Transferred to a plastic bag or a jar after opening, you can still expect at least a couple of years of longevity as long as conditions are cool and dry. Once again, date any containers so you will be able to consider replacement if you start pushing a three- or four-year storage period. Often added at rates of one gram per gallon (0.25 g/L) or so, a small quantity will take care of most winemaker’s needs. They are also relatively inexpensive if you need to replace your supply, coming in around 5 cents a gram, depending on formulation and package size.

Other essential products in the winemaker’s pantry are cleaners and sanitizers. Pure chemical cleaning agents like sodium percarbonate or sodium carbonate have very long shelf lives if kept sealed and dry. Plastic bags or plastic jars provide suitable containers and you will probably use up any reasonable quantity before there is any loss of effectiveness.

Special purpose liquid cleaners like TDC (triple duty concentrate) from National Chemicals are also very stable and can be kept in the original bottle for as long as it takes for you to use it up. Similarly, concentrated no-rinse sanitizers like Star San and iodophor are stable for at least a year and probably longer. Because of safety warnings, do not transfer these concentrates to another container. Once diluted for use, iodophor solutions retain effectiveness for hours or days and Star San for days or a few weeks (longer if distilled water is used), but for most home winemakers they will have to be newly diluted from concentrate each time they are needed.

One particular sanitizer/preservative/wine additive deserves specific mention: Potassium metabisulfite. This essential cellar chemical is sold as a white granular material in plastic bags or jars. It has the chemical formula K2S2O5 and is sometimes compressed into Campden tablets to provide a pre-measured dose. Sulfur dioxide is constantly evolving when the powder is exposed to air and it loses strength over time. While it will not turn into something that will harm your wine, it might not be as strong as you think it is. The powder or tablets should be fine for at least a year and maybe as much as three years, stored resealed in the original package. If you do as I do and prepare a 10% solution by dissolving 100 g in 1 L of distilled water, that solution should also keep with relatively little loss for up to a year. Date the glass or plastic bottle you keep it in and replace at least once per year. If you test your wine on a regular basis it won’t matter if your addi-

tive has lost a little strength, since how it worked in your wine will be reflected in your test results.

The two natural acid products commonly used in the home winery — citric acid and tartaric acid — are stable granular solids. Use citric acid in cleaning and sanitizing and tartaric acid for wine or juice that needs acid addition. Both can be kept in bags or jars for at least two years if kept dry. You could use tartaric acid in place of citric in cleaning, but a price difference has me keeping both on hand for their particular uses. A pound (454 g) of tartaric acid retails for $10 to $12 with citric acid going for about half that.

Most testing reagents are best left in their original containers and many have an expiration date assigned by the manufacturer. Since those sometimes take the form of something like “six months from date of purchase,” mark the label with the date you got it. Especially at risk of a shorter shelf life are some of the most commonly used chemicals. pH buffers, essential for calibrating your pH meter, are prone to developing mold when stored. Refrigerated storage will help, but replace if you see any mold and at least once per year in any case. The dilute sodium hydroxide solution used for titratable acidity (TA) testing is subject to losing strength over time. Replace any 0.067 N or 0.1 N sodium hydroxide at least once per year or any time you see anything growing in it. Refrigeration helps here, too, but keep the bottle tightly closed to avoid picking up moisture from the environment and accidentally diluting your standardized reagent.

ADVANCED WINEMAKING

BY ALEX RUSSAN

OAK AND BARREL DYNAMICS

Do’s and don’ts when it comes to wine and oak

Barrels are one of the most ubiquitous tools in winemaking, and one of the first things that come to mind when we imagine a winery: Rows of them, stacked high, filled with wine waiting for the bottle. Despite their near-universal use in winemaking today, they’re actually a relatively recent addition to wine, replacing clay amphorae, used for thousands of years before wood. Their most obvious contribution to wine is oak aromas and tannins, but barrels do much more, particularly with their ability to aid structuring. They also require the most care compared to other wine vessels and require diligent care to maintain. There’s a lot that goes into barrels — no pun intended.

HISTORY OF BARRELS

For the vast majority of wine’s 9,000year known history, clay amphorae were the dominant vessel. Oddly shaped and cumbersome, it’s a wonder they were so widespread. There is a reference to palm casks being used for wine in Babylonia in the fifth-century BCE (Younger, 138), but it was not until the Romans, perhaps around 0 CE, that barrel use became more widespread. Roman barrels were much longer and thinner than what we use today; modern barrel dimensions came to be in the 1500s (Jackson, 582). Historically, barrels weren’t only used for wine, but for transporting all sorts of goods like salt and fish.

THE WOOD

Today, most barrels used for winemaking come from French oak, always white oak, specifically from Quercus robur and Quercus sessilis species. Q. robur is considered to lend more tannin (Smith, 62), while Q. sessilis is thought to give more aromatic compounds (Jackson, 583).

Q. robur generally has a coarser grain,

Q. sessilis finer. These characteristics aren’t always the case, and may reflect differences in each species’ preference for different growing conditions, and the result from these growing conditions on tree characteristics, rather than actual genetic differences (Jackson, 584).

Oak for barrels come from various forests around France, such as Allier and Tronçais, Nevers and Bertranges, Jupilles, Chatillon, Vosges, and Limousin. Usually barrels will have an initial on their head denoting the forest where the oak was harvested, for example, “A” for Allier, “T” for Tronçais. Vosges is thought to give more tannins, Tronçais to have a fine grain and give supple tannins, Jupilles to give an elegant and floral aromas (Artisan Barrels).

This is not to say that wine aged in the same type of barrels will turn out the same. There is a great degree of variation tree-to-tree within the same species or forest, even from different sides of the same tree, and therefore every barrel is different — so all of the above should be used as a loose guide, not definite. Either way, wine in different vessels will always age differently.

Although French oak is the dominant wood used for wine barrels today, this is also new; Central Europe was the preferred source for wood until World War II, when France was cut off from trade to that region. Central European oak is having a resurgence in popularity lately, and may be thought of as an intermediate between French and American oak characteristics.

American oak, from Quercus alba and related species, also sees some use today, although it is only widespread in parts of Spain and with a handful of domestic producers. Rioja is known for using American oak, although French oak has gained popularity there. Sherry is also famous for using American oak

Photo by Charles A. Parker/Images Plus

Although French oak is the dominant wood used for wine barrels today, this is also new; Central Europe was the preferred source for wood until World War II . . .

barrels, however, they are used for wine to be turned to vinegar for 10 or more years, as to not impart any oak character when used for actual Sherry. American oak tends to impart dill aromas, but this is not always the case. Also, historically, chestnut, acacia, redwood and others were used, and some modern winemakers are again experimenting with these woods, looking for alternatives to oak.

MAKING BARRELS

Making barrels is a very wasteful process. Because barrel staves can only come from about 25% of the wood harvested, most of the tree is simply thrown away. The trees used are often 200 years old (Smith, 63). This is obviously not sustainable and is one argument for keeping barrels forever and using oak adjuncts, like chips, for flavoring — not new barrels.

Staves are cured outside or in kilns for a minimum of 24 months. Some producers work with rainwater, others irrigate the oak during the curing process. As intense oak character has fallen out of vogue, curing times are getting longer to leach out and break down more of the tannin and aromas from the wood.

Once cured, the barrels are made. Fire is used to make the staves easier to bend, and once the body is constructed, the young barrels are toasted to differing degrees. Toasting barrels is a relatively new practice, and the earliest documentation of toasting dates back only to the mid-19th century (Jackson, 591). “Moderate toast can bring out spice elements that accent mouthfeel. Very heavy toast can produce deep espresso notes, which frame fruit well and enrich flavor persistence in the finish” (Smith, 62). “High temperature is necessary to create clove spice, vanilla, caramelization and espresso aromas” (Smith, 63). In addition to the initial for forest, barrels usually carry an abbreviation for the toasting (“MT” for medium toast “MT+” for medium toast plus, and so on). There is no industry standard for toasting, so what is medium for one company may be very different from another (Jackson, 592). Also something of note, heavy toasting may create compounds in barrels that can feed Brettanomyces yeast.

WHAT BARRELS DO: AROMA

The first thing most folks think of when it comes to barrels and winemaking is the oak aromas they can impart. This is definitely the most apparent of its effects, and one that sparks much controversy. More than 200 aroma compounds have been found to come from oak (Jackson, 599). Oak aromas can lend the perception of sweetness to a wine.

When oak is new, the aromatic contribution to a wine can be significant — and should be used with caution — although this depends on the wine. Some wines have an ability to age in new oak without being overwhelmed by it, whereas another wine might. It’s often thought that wines with sturdier structures can handle more new oak without showing an extreme oak character. The aromatic contribution of oak becomes less and less over the first few years of use, and is considered “neutral” after four or five years.

New oak (or heavy-handed use of oak adjuncts) can overshadow the character that comes from the grapes, making the star the barrel rather than the vineyard, which is what

causes the controversy. Many famous wineries in the 1990s and 2000s relied heavily on oak for their wine’s character, some even being aged in “200% oak,” where a wine spends a year in new oak, and then a second year in another set of brand new oak barrels! Whereas yesterday’s trend was for extraction, richness, intensity, and big oak, wines whose character predominantly came from getting grapes very ripe and winery practices (like heavy oaking) — today’s trend is for wine to be “made in the vineyard.” This means picking earlier and avoiding practices that might overshadow the grapes’ natural terroir. It’s a valid point that oak can overshadow vineyard character, but stylistic preference is, of course, subjective — we like what we like!

Less known is that in addition to adding flavors, oak can also take them away. Oak can absorb fruity esters from wines (Jackson, 601). Although esters mostly break down on their own over the first year to 18 months of a wine’s life, for those looking to craft early-drinking, fruity wines, oak may best be avoided. Oak may also reduce greenness in wines (Jackson, 601). Our understanding of the aromatics that oak may remove is far from complete, but it is thought to reduce many aromatic compounds in wine.

WHAT OAK DOES: TANNIN

Oak, especially when new or young, can be an important source of tannins for wine, but they are mostly a different type and never as significant as those that come from the grapes. The tannin that comes from grapes is primarily condensed tannins, oak tannins are mostly what are known as hydrolysable tannins. Oak’s hydrolysable tannins have been found to reach a maximum concentration of 0.25 g/L, whereas grapes’ condensed tannins are much more significant, ranging from 2–4 g/L (UC-Davis, Waterhouse Lab page).

Oak tannins are structurally very different from grape tannins, and do not contribute in the same way to mouthfeel as grape tannins do. Oak tannins are much less astringent (the typical tannin-y sensation, a dryness in various parts of the tongue or mouth), but are bitter (giving a grainy sensation on the top of the tongue). High levels of oak tannins have been found to increase roundness in the mouth and decrease fruitiness (Jackson, 600), which grape tannins can do as well.

The tannins that come from oak can be beneficial for wine structure, color stabilization, and longevity. Barrels known to donate more tannins to a wine may be useful for low-tannin wines, Pinot Noir for instance, which may “benefit from substantial help in the form of oak antioxidants, color stabilizers, sweetness, and mouthfeel contributors” (Smith, 60). For both oak aromas and tannins, in Clark Smith’s essential book, Postmodern Winemaking, he makes the wise suggestion to select oak type not based on one’s preference for oak aromas or tannic wines, but based on the deficiency in the wine you are working with — Q. robur barrels that give more tannin for tannin-deficient Pinot Noir, or Q. sessilis barrels for grapes which may lack fruit or sweetness, such as Mourvèdre, Carignan, or Cabernet Franc (Smith, 59). For him, the importance of oak and oak choices is to help a wine express itself better, not to flavor it. Both oak aromas and tannins can be achieved by oak adjuncts. They are a cheaper, more sustainable, and more

ADVANCED WINEMAKING

option-rich way to go (as far as wood type and toast levels) compared to buying new barrels.

WHAT OAK DOES: PERMEABILITY

The one thing that barrels can do that oak adjuncts and most other vessels cannot, is a slight degree of microoxygenation and releasing off-odors. Standard 225-L (60-gallon) barrels provide about 1 mg per liter per month of oxygen to a wine. Just after fermentation, highly structured red wines may be able to absorb and integrate into their structure 60 times this amount, although this decreases significantly as the wine ages. After a few years in barrel, this 1 mg/L/month would be too much (Smith, 98). While it may be much less than a young red wine wants or needs, oak does provide some degree of oxygenation to avoid reductive odors and help color and tannin polymerize more efficiently than they otherwise would in an impermeable vessel like glass or stainless.

Various factors affect how much oxygen will enter a barrel. Smaller barrels will give more oxygen — as well as more barrel extractives — owing to the smaller amount of wine relative to their surface area than larger barrels. Larger barrels have the opposite effect. New barrels allow more oxygen in than older barrels. Tightly bunged barrels allow less oxygen in than loosely bunged barrels — the bung may be the point where most oxygen enters barrels, as little is thought to actually enter through staves. Staves, however, do allow for alcohol and water evaporation, and allow for the release of off-odors.

CLEANING AND STORING BARRELS

Prepping new barrels can be done with the standard threestage cleaning — sodium percarbonate wash, citric acid wash, water rinse. Cleaning used barrels is a bit more involved as there are built up tartrates and lees to wash out. It’s best to use a barrel washer, which has a rotating head that ensures that each part of the inside surface is washed. Barrel washers that attach to garden hoses can be purchased online for about $200. Be sure to buy the appropriate attachments to connect your hose. These basic washers are not for use with pressure washers, which requires a more elaborate barrel washer. The barrel washers that attach to garden hoses are at about 60 PSI, whereas the pressurized ones can reach 1,500 PSI — so the difference in their cleaning abilities, as well as price and what equipment you need to use them, is big. The garden hose attachments are more of a really thorough rinsing, to spare your back from shaking the barrel around. The pressurized versions will blast out most tartrates. If tartrates do build up, you can wash with sodium precarbonate, followed by a hot water rinse. Just make sure you do a citric wash before putting wine back in. After washing, you can do a three-stage cleaning to sanitize.

It’s ideal to always have wine in your barrels, but of course, this isn’t always possible. The best way to store barrels, which both avoids microbial contamination and drying out, is to fill barrels with water that’s been acidified with citric acid and 200 ppm of SO2. The water should be acidified to wine pH (at

least below 4), so that the SO2 is effective — at higher pHs it offers little to no protection as it is useless at standard water pH levels. Top the barrel regularly and add 25 ppm SO2 every few months to maintain an effective SO2 level.

The most common way to store barrels is by burning a sulfur stick or ring in the empty barrel every month. Sulfur sticks are cheap and the burner apparatus can be purchased for around $40. Be sure to do this outside or in a well-ventilated area, as the smoke is horrific. It’s commonly suggested to leave a little water in stored barrels to keep them hydrated, but this little bit of water can lead to microbial spoilage growth and is not advisable. After storage with sulfur smoke, rinse barrels a few times and three-stage clean before putting wine in them.

After storing barrels dry, they will need to be rehydrated, which you can do with a steamer, or simply by using hot water. A trick to know if your barrel is sealed is to add hot water, bung tightly, then let the barrel cool for 10 or 15 minutes. When you remove the bung, if you feel or hear a vacuum, the barrel seals. If a vacuum has not been created, there is air entering the barrel somewhere, and you should repeat the hot water treatment.

Always smell the inside of your barrels (except when the last thing in them was sulfur smoke or an SO2 solution!) and pay attention to the wine inside of them, keeping an eye (nose) out for Brettanomyces and other spoilage organisms. Ridding barrels of spoilage microbes, especially Brett, is com-

plicated, if not impossible. Spoiled barrels may be the only time it makes sense to stop using a barrel.

There’s a lot more that goes into making, using, and maintaining barrels than other vessels such as stainless; however, they offer more ways to impact a wine than less complicated options. They can be used to enhance wine structure, correct deficiencies, and add aromas and complexity — and of course they also look really cool in your home winery. It’s no wonder that they’ve become so entrenched in winemaking, despite their relative youth in the history of wine.

SOURCES

Jackson, Ronald S., Wine Science, Fourth Edition, 2014. Academic Press, Elsevier, Inc., London, UK

McGovern, Patrick. E, Ancient Wine 2019. Princeton University Press, Princeton, NJ, USA

Smith, Clark, Postmodern Winemaking, 2014. University of California Press, Berkeley and Los Angeles, California.

Younger, William, Gods, Men and Wine, 1966. The Wine and Food Society Limited, London, UK

https://artisanbarrels.com/mainpage.html?woodwines

https://waterhouse.ucdavis.edu/whats-in-wine/tannin

READER SERVICE

FOR DIRECT LINKS TO ALL OF OUR ADVERTISERS’ WEBSITES, GO TO WWW.WINEMAKERMAG.COM/RESOURCE/READER - SERVICES

ACID

Testing for pH: “Techniques” Jun-Jul ‘20

Testing for Tritratable Acidity: “Techniques” ....... Aug-Sep ‘20

AGING

Bulk Aging Aug-Sep ‘20

Crazy pH Shifts: “Wine Wizard” ..................... Apr-May ‘20

BARRELS AND OAKING

The Oak Necessities: “Wine Wizard” Feb-Mar ‘20

Percent New Oak: “Wine Wizard” Jun-Jul ‘20

Prepping Oak Additions: “Wine Wizard” ............... Dec ‘20-Jan ‘21

Oak and Barrel Dynamics: “Advanced Winemaking” Dec ‘20-Jan ‘21

Untoasted Oak Barrels: “Wine Wizard” ..................... Apr-May ‘20

Varnish on a Mini-Barrel: “Wine Wizard” ..................... Oct-Nov ‘20

COUNTRY WINEMAKING

Fruit Cider.................................... Jun-Jul ‘20

Fruit Port From Purees Feb-Mar ‘20

Making Berry Good Wines Jun-Jul ‘20

EQUIPMENT

Build A Better Sprayer ......... Apr-May ‘20

Essential Fresh Grape Equipment: “Wine Wizard” Dec ‘20-Jan ‘21

Home Glycol Cooling Systems Aug-Sep ‘20

GRAPE GROWING

Devise A Home Vineyard Spray Program .................... Apr-May ‘20

Dirt Don’t Lie: “Backyard Vines” ................... Jun-Jul ‘20

Spring Vineyard Chores: “Tips From the Pros” Apr-May ‘20

Top Twelve Harvest Tips: “Backyard Vines” Oct-Nov ‘20

Vineyard Challenges: “Backyard Vines” Feb-Mar ’20

Vineyard Planning: “Wine Wizard” ..................... Oct-Nov ‘20

HOME WINEMAKING STORIES

Competitions Help Winemakers: “Dry Finish” Oct-Nov ‘20

Ferment It All!: “Dry Finish” Jun-Jul ‘20

The Forbidden Fruit: “Dry Finish” Apr-May ‘20

The Leaker: “Dry Finish” .................... Dec ‘20-Jan ‘21

WineMaker Conference Comrades: “Dry Finish” Feb-Mar ‘20

Zoom Zoom: “Dry Finish” .... Aug-Sep ‘20

KIT WINEMAKING

15 Tips, Tricks, and Troubleshooting Techniques for Kits .... Dec ’20-Jan ‘21

Macerating Kit Skin Packs: “Wine Wizard” Oct-Nov ‘20

Testing With Kit Wines: “Wine Wizard” ..................... Apr-May ‘20

Top 100 Wine Kits for 2020 Dec ‘20-Jan ‘21

Upping Your Kit Game: “Techniques” ....................... Feb-Mar ‘20

MISCELLANEOUS

2020 Label Contest Winners ................................. Feb-Mar ‘20

2020 WineMaker International Amateur Wine Competition Oct-Nov ‘20

Baking Bread With Wine Yeast: “Wine Wizard” ..................... Aug-Sep ‘20

PRESSING

Pressing Issues: “Wine Wizard” Aug-Sep ‘20

SULFITE

Adjusting SO2: “Wine Wizard” ..................... Apr-May ‘20

Free SO2 Testing Times: “Wine Wizard Dec ’20-Jan ‘21

Testing For SO2: “Techniques” ....................... Oct-Nov ‘20

Timing of First SO2 Addition: “Wine Wizard” Dec ‘20-Jan ‘21

TECHNIQUES

Cold Soaking: “Tips From the Pros” Aug-Sep ‘20

Degassing Wines: “Wine Wizard” Oct-Nov ‘20

Fine Wines Jun-Jul ‘20

Maximizing Wine Aromatics ............................. Apr-May ‘20

Racking Strategies: “Advanced Winemaking” Apr-May ‘20

Red Fermentation Decisions: “Tips From the Pros” ........ Oct-Nov ‘20

Red Wine Fermentation Considerations Oct-Nov ‘20

Tannin Additions: “Tips From the Pros” ............. Dec ‘20-Jan ‘21

Volatile Acidity: “Advanced Winemaking” Aug-Sep ‘20

White Wine Fermentation Considerations ................... Oct-Nov ‘20

TROUBLESHOOTING

Color Plating: “Wine Wizard” ............... Dec ‘20-Jan ‘21

Fact Check: Winemaking Edition Oct-Nov ‘20

Light Strike in Wines: “Wine Wizard” ..................... Aug-Sep ‘20

Overcompensating Off-Flavors: Wine Wizard” Jun-Jul ‘20

Stalled Malolactic Fermentation: “Wine Wizard” Feb-Mar ‘20

VARIETALS – WINE STYLES

Albariño ..................................... Aug-Sep ‘20

Baco Noir: “Varietal Focus” Feb-Mar ‘20

Blending With Malbec: “Tips From the Pros” ........ Feb-Mar ‘20

Cinsault: “Varietal Focus” Oct-Nov ‘20

Grenache Blanc: “Varietal Focus” ........... Dec ‘20-Jan ‘21

Lacrosse: “Varietal Focus” Aug-Sep ‘20

Malbecs Around the World ............................. Feb-Mar ‘20

Primitivo: “Varietal Focus” Apr-May ‘20

Rosy Roussanne: “Varietal Focus” Jun-Jul ‘20

Tempranillo Aug-Sep ‘20

WINE SCIENCE

Additives to Impact Phenolics and Tannins Dec ‘20-Jan ‘21

Phenolics and Tannins Apr-May ‘20

Phenolics in Red Wines ....... Oct-Nov ‘20

Phenolics and Tannins in White, Sparkling, and Rosé Styles Jun-Jul ‘20

Testing for Malolactic Fermentation: “Techniques” Apr-May ‘20

The Value of Wine Numbers: “Wine Wizard” ..................... Feb-Mar ‘20

WINEMAKING TIPS

Oxygen Management For Home Winemakers Feb-Mar ‘20

Recording Notes

Like A Pro Dec ’20-Jan ‘21

The Winemaker’s Pantry: “Techniques” Dec ‘20-Jan ‘21

WINEMAKER DIRECTORY

ALABAMA

WERNER’S TRADING COMPANY

1115 Fourth St. SW

Cullman 35055

1-800-965-8796

www.wernerstradingco.com

The Unusual Store.

THE WINE SMITH

6800 A Moffett Rd. (US 98)

Mobile 36618 (251) 645-5554

e-mail: winesmith@bellsouth.net

www.thewinesmith.biz

Home Winemaking and Brewing Supplies.

ARKANSAS

FERMENTABLES

3915 Crutcher St. North Little Rock (501) 758-6261

www.fermentables.com

Complete wine, beer and cheesemaking shop.

CALIFORNIA

THE BEVERAGE PEOPLE

1845 Piner Road, Suite D Santa Rosa 95403 (707) 544-2520

www.thebeveragepeople.com

Fast Shipping, Great Service, Cheesemaking & Brewing too.

BREHM VINEYARDS®

www.brehmvineyards.com

grapes@brehmvineyards.com

Phone: (510) 527.3675

Fresh grape pick-up in Petaluma, CA

Frozen grapes in Richmond, CA

Ultra-premium grapes for home winemakers for over 40 years! Sold at harvest or shipped frozen across N. America year-round. Over 30 varieties from Carneros, Napa, Sonoma, Washington and Oregon.

CURDS AND WINE, LLC

7194 Clairemont Mesa Blvd. San Diego 92111

(858) 384-6566

www.curdsandwine.com

Winemaking & cheesemaking supplies, make wine on site!

DELTA PACKING CO. OF LODI, INC.

6021 E. Kettleman Lane

Lodi 95240

(209) 334-1023

fax: (209) 334-0811

bcostamagna@deltapacking.com

www.grapesofgold.com

We offer premium California wine grapes & juice. Please call for a supplier near you.

MOREBEER! & MOREWINE!

995 Detroit Ave., Unit G Concord 94518 (925) 771-7107

fax: (925) 671-4978

srconcord@moreflavor.com

www.morewinemaking.com/ showrooms

Absolutely Everything! for Wine-Making

MOREBEER! & MOREWINE!

991 N. San Antonio Rd. Los Altos 94022 (650) 949-BREW (2739) srlosaltos@moreflavor.com

www.morewinemaking.com/ showrooms

Absolutely Everything! for Wine-Making

MOREBEER! & MOREWINE!

1506 Columbia Ave. #12

Riverside 92507 (951) 779-9971

fax: (951) 779-9972

srriverside@moreflavor.com

www.morewinemaking.com/showrooms

Absolutely Everything! for Wine-Making

MOREBEER! & MOREWINE!

2315 Verna Court

San Leandro 94577 (510) 351-3517

srsanleandro@moreflavor.com

www.morewinemaking.com/showrooms

Absolutely Everything! for Wine-Making

NORCAL BREWING SOLUTIONS

1768 Churn Creek Rd. Redding 96002 (530) 243-BEER (2337) or (530)-221-WINE (9463) www.norcalbrewingsolutions.com

Full line of wine, beer, & distilling supplies, hardware, and ingredients. Manufacturers of lees filters, punchdown tools, and custom solutions.

VADAI BARRELS

604 W. Las Tunas Dr. San Gabriel 91776 (626) 289-8250

vadaiworldtd@sbcglobal.net

www.vadaiwinebarrels.com

www.vadaibarrels.org

LOWEST FACTORY PRICE IN THE USA. FRENCH & HUNGARIAN STYLE BARRELS. From 1/2 to 5000L Sizes. Wine press various sizes, Vinegar Barrels, Pickle Barrels. This Zemplen Oak won the highest recognition in the Italian Competition for the Best Tasting Wine!

VALLEYVINTNER, LLC

(925) 217-0058 or (866) 812 WINE (9463) Toll Free info@valleyvintner.com

www.valleyvintner.com

75+ years wine making expertise!

Owned & Operated by winemakers serving the winemaking community. “The Vine, The Time, The Wine”

COLORADO

THE BREW HUT 15120 East Hampden Ave. Aurora 80014 (303) 680-8898

www.thebrewhut.com

Complete Winexpert line! Fresh fruit, equipment & chemicals! We Rent Equipment Too!

LIL’ OLE’ WINEMAKER

516 Main Street Grand Junction 81501 (970) 242-3754

Serving Colorado & Utah winemakers since 1978

CONNECTICUT

BREW & WINE HOBBY

Featuring Winexpert & RJ Spagnols Kits. Area’s widest selection of wine kits, beer making supplies & equipment

12 Cedar St.

East Hartford 06108 (860) 528-0592 or Out of State: 1-800-352-4238

www.brew-wine.com

Specializing in European juices (not concentrate) And world-wide juice varietals.

MUSTO WINE GRAPE CO., LLC

101 Reserve Road

Hartford 06114

1-877-812-1137

sales@juicegrape.com

www.juicegrape.com

Fresh premium grapes and juices from CA, NY, WA, Argentina, Chile & Italy. Bulk Fruits & Concentrates too! All winemaking supplies and equipment on site. Winemaking classes and on site crushing/ destemming services in season. Our friendly & knowledgeable staff is ready to help, make your next wine your best wine.

NORTHEAST WINEMAKING

10 Robert Jackson Way Plainville 06062 (860) 793-2700

www.northeastwinemaking.com

New Year-Round Showroom Open in Plainville with 2nd full service location in Hartford, CT and satellite location in Chelsea, MA. Your one stop shop for fresh grapes, juice, equipment and accessories!

FLORIDA

PARDO WINE GRAPES

16901 Cedar Bluff Drive Tampa 33618 (813) 908-6440/340-3052

pardowinegrapes@aol.com

www.pardowinegrapes.com

Distributors of quality California (fall) and Chilean (spring) wine grapes and fresh juice to Florida winemakers for over 70 years.

GEORGIA

OPERATION HOMEBREW

1142 Athens Hwy #105 Grayson 30017 (770) 638-8383

Operationhomebrew.com

Best darn winemaking supply store in Georgia!

ILLINOIS

CHICAGOLAND WINEMAKERS INC. 689 West North Ave. Elmhurst (630) 834-0507

info@chicagolandwinemakers.com www.chicagolandwinemakers.com

Complete line of home winemaking and brewing supplies & equipment since 1971.

WHAT’S BREWING?

335 W. Northwest Highway

Palatine 60067 (847) 359-2739

info@whatsbrewingsupply.com

WhatsBrewingSupply.com

Supplying beer and winemakers with the best equipment and freshest ingredients. 10% Club discount. Let’s make it! Wine and Beer.

INDIANA

THE BREWERS ART SUPPLY

1425 N. Wells Street Fort Wayne 46808 (260) 426-7399

BrewersArtSupply@gmail.com

www.BrewingArt.com

Your hometown Wine Supply with friendly expertise! facebook.com/ BrewersArtSupply

GREAT FERMENTATIONS

Indianapolis 5127 East 65th St. Indianapolis 46220 (317) 257-WINE (9463) or toll-free 1-888-463-2739 info@greatfermentations.com www.greatfermentations.com

GREAT FERMENTATIONS WEST 7900 E US 36, Suite D Avon 46123 (317) 268-6776 info@greatfermentations.com www.greatfermentations.com

QUALITY WINE AND ALE SUPPLY/ HOMEBREWIT.COM

5127 E. 65th St. Indianapolis 46220 Phone: (574) 295-9975 customerservice@homebrewit.com

Online: www.Homebrewit.com

Quality wine making supplies for beginners AND experts. Bottles, Corks, Shrinks, Chemicals, and Professional Equipment. Largest selection of Winexpert Kits. Fast Shipping. Expert Advice.

IOWA

BLUFF STREET BREW HAUS 372 Bluff Street

Dubuque (563) 582-5420

e-mail: jerry@bluffbrewhaus.com

www.bluffbrewhaus.com

Complete line of wine & beermaking supplies. In operation since 2006.

KANSAS

BACCHUS & BARLEYCORN, LTD. 6633 Nieman Road

Shawnee 66203 (913) 962-2501

www.bacchus-barleycorn.com

Your one stop supply shop for home wine, cider, mead, beer and cheese makers for over 30 years.

HOMEBREW PRO SHOPPE, INC.

2061 E. Santa Fe Olathe 66062 (913) 768-1090 or 1-866-296-2739 (BYO-BREW)

Secure ordering on line: www.homebrewproshoppe.com

Complete line of wine & beer making supplies & equipment.

WINEMAKER DIRECTORY

KENTUCKY

WINEMAKERS & BEERMAKERS SUPPLY

9475 Westport Rd.

Louisville 40241

(502) 425-1692

www.winebeersupply.com

Impeccable line of wine & beer making supplies. Superior grade of juice from Winexpert. Quality malt from Briess & Muntons. Family owned store since 1972.

MARYLAND

THE FLYING BARREL

1781 North Market St. Frederick (301) 663-4491 fax: (301) 663-6195

www.flyingbarrel.com

Maryland’s 1st Wine-On-Premise & large selection of homewine supplies! Wine judge on staff!

MARYLAND HOMEBREW

6770 Oak Hall Lane, #108 Columbia 21045

1-888-BREWNOW

www.mdhb.com

We carry the VinoSuperiore frozen Italian must along with Winexpert Kits. Everything you need to make your own wine & cheese. Visit us in-person or online. We ship everywhere

MASSACHUSETTS

BEER AND WINE HOBBY, INC.

85 Andover St. Danvers 01923

1-800-523-5423

e-mail: bwhinfo@beer-wine.com

website: www.beer-wine.com

Brew on YOUR Premise™

For the most discriminating wine & beer hobbyist.

THE WITCHES BREW INC.

12 Maple Ave. Foxborough 02035

(508) 543-0433

steve@thewitchesbrew.com

www.thewitchesbrew.com

You’ve Got the Notion, We’ve Got the Potion

MICHIGAN

ADVENTURES IN HOMEBREWING

6071 Jackson Rd. Ann Arbor 48103

(313) 277-BREW

fax: (313) 583-3294

e-mail: wine@homebrewing.org

Visit us at www.AdventuresinHome brewing.com

Premium Wine Kits, Fruit, Honey, Fruit Presses, Apple Crushers, and Fermentors. Everything for the beginner and the seasoned winemaker.

ADVENTURES IN HOMEBREWING

23847 Van Born Rd. Taylor 48180

(313) 277-BREW

fax: (313) 583-3294

e-mail: wine@homebrewing.org

Visit us at www.AdventuresinHome brewing.com

Premium Wine Kits, Fruit, Honey, Fruit Presses, Apple Crushers, and Fermentors. Everything for the beginner and the seasoned winemaker.

BREWERS EDGE HOMEBREW SUPPLY, LLC

650 Riley Street, Suite D Holland 49424 (616) 399-0017

www.brewersedgehomebrew.com

e-mail: brewersedge@gmail.com

Your local Winemaking & Homebrewing Supply Shop...get the Edge!

CAP N CORK HOMEBREW SUPPLIES

16776 - 21 Mile Rd. Macomb Twp. (586) 286-5202 fax: (586) 286-5133

www.capncorkhomebrew.com

info@capncorkhomebrew.com

The home winemaker’s source for Winexpert wine kits and Oregon Fruit & Vintner’s Harvest fruit-based concentrates.

MACOMB VINTNER SUPPLY

44443 Phoenix Dr. Sterling Heights (248) 495-0801

www.macombvintnersupply.com

Purveyor of grapes and grape juices for the winemaker. L’uva Bella, Mosto Bella & Chilean Bello Brands, and Extra-Virgin Olive Oil.

MID-MICHIGAN VINTNER SUPPLY

Grand Rapids & South Lyon (517) 898-3203

www.Mid-Michiganvintnersupply.com

info@Mid-Michiganvintnersupply.com

Purveyor of fresh grape juices for the winemaker. L’uva Bella, Mosto Bella & Chilean Bello Brands.

MORGAN VINEYARD

15775 40th Avenue Coopersville 49404 (616) 648-3025

morgangrapes@gmail.com

MorganVineyard.com

Supplier of high quality wine grapes conveniently located in West Michigan.

SICILIANO’S MARKET

2840 Lake Michigan Dr. N.W. Grand Rapids 49504 (616) 453-9674 fax: (616) 453-9687

e-mail: sici1@sbcglobal.net

www.sicilianosmkt.com

Largest Wine Making inventory in West Michigan. Now selling beer and winemaking supplies on-line.

TAYLOR RIDGE VINEYARDS

3843 105th Ave. Allegan 49010 (269) 521-4047

bctaylor@btc-bci.com

www.taylorridgevineyard.com

18 Varieties of Wine Grapes and Juices. Vinifera, New York State, Minnesota and French hybrids. Providing wine grapes and juices for over 30 years.

MISSOURI

BREWER’S BEER AND WINEMAKING AT BREWER’S TRUE VALUE HARDWARE

915 Jungermann Rd. St. Peters 63376 (636) 477-7799 brewerstruevalue.com

Finally - a convenient and well stocked winemaking supply store in St. Peters. Winemaking and Beer Making supplies in a local hardware store?? You bet! Come browse our selection.

HOME BREWERY

1967 West Boat St.

Ozark

1-800-321-BREW (2739) brewery@homebrewery.com www.homebrewery.com

Since 1984, providing excellent Service, Equipment and Ingredients. Beer, Wine, Mead, Soda and Cheese.

ST. LOUIS WINE & BEERMAKING LLC

231 Lamp & Lantern Village St. Louis 63017 (636) 230-8277

info@wineandbeermaking.com

www.wineandbeermaking.com

Making the Buzz in St. Louis.

NEW HAMPSHIRE

KETTLE TO KEG

123 Main Street

Pembroke 03275 (603) 485-2054 www.kettletokeg.com

Winemaking, homebrewing and soda ingredients, supplies and equipment. Located conveniently between Concord and Manchester.

NEW JERSEY

GRAPE EXPECTATIONS (U-VINT)

25 Kearney St. Bridgewater 08807 (732) 764-9463 fax: (732) 764-0655

email: justmygrapes@aol.com

www.GrapeExpectationsNJ.com

Produce your own Favorite Wines at Our 8,000 sq. ft. Winery with Grapes from S. Africa, California, Chile and Argentina as well as Juice from Italy. Our winemakers have won over 100 medals in the last 18 years. Also full inventory of supplies and equipment for the Home Winemaker.

NEW YORK

DOC’S HOMEBREW SUPPLIES

451 Court Street

Binghamton 13904 (607) 722-2476

www.docsbrew.com

Full-service beer & wine making shop serving NY’s Southern Tier & PA’s Northern Tier since 1991. Extensive line of Winexpert kits, supplies and equipment.

FULKERSON WINERY & JUICE PLANT

5576 State Route 14

Dundee 14837 (607) 243-7883 fax: (607) 243-8337

www.fulkersonwinery.com

Fresh Finger Lakes grape juice available during harvest. Large selection of home winemaking supplies. Visit our website to browse and order supplies. Open year round 10-5, extended seasonal hours. Find us on Facebook and follow us on Twitter @fulkersonwinery.

MAIN STREET WINES & SUPPLIES

249 Main St. Arcade 14009 (585) 492-2739 fax: (585) 492-2777

mainstwines@yahoo.com

Plenty of wine kits available to make your own wine. Full line of winemaking supplies and accessories for your convenience. Tue-Fri 10-6; Sat 10-3 or by appt. Like us on Facebook.

NIAGARA TRADITION

HOMEBREWING SUPPLIES

1296 Sheridan Drive Buffalo 14217 (800) 283-4418 or (716) 877-8767

www.nthomebrew.com

We feature a complete line of supplies for making wine, beer, mead, cider and cheese.

PANTANO’S WINE GRAPES & HOMEBREW

249 Rte 32 S. New Paltz 12561 (845) 255-5201 or (845) 706-5152 (cell) pantanowineandbeer@yahoo.com

www.pantanosbeerwine.com

Find Us On Facebook. Your source for wine & beer making supplies and equipment. Grapes and Juice from California, Italy & Chile in season, wine kits and all juice pails (6 gal) year round. Classes available. We now carry Distilling Products and Stills.

PROSPERO EQUIPMENT CORP.

123 Castleton St. Pleasantville 10570 (914) 769-6252

fax: (914) 769-6786

info@prosperocorp.biz

www.prosperocorp.biz

The source to all your winemaking equipment.

SARATOGA ZYMURGIST

112 Excelsior Ave. Saratoga Springs 12866 (518) 580-9785

email: szymurgist@gmail.com

www.SaratogaZ.com

Let us be your guide into the world of Zymurgy. Reaching the Adirondack Park, Capital District, Southern Vermont and beyond! Great online store.

TEN THOUSAND VINES WINERY

8 South Buffalo St. Hamburg 14075 (716) 646-9979

mike@TenThousandVines.com

www.TenThousandVines.com

Wine supplies, juice and advice.

WALKER’S WINE JUICE

2860 N.Y. Route 39 – Since 1955 Forestville (716) 679-1292

www.walkerswinejuice.com

Over 50 varieties of “Hot-Pack”

Grape, Fruit and Berry Juice, Requiring No Refrigeration, shipped by UPS all year. Supplying over 300 wineries in 37 states!

NORTH CAROLINA

ALTERNATIVE BEVERAGE (BELMONT) 1500 River D., Suite 104 Belmont 28012

Advice Line: (704) 825-8400

Order Line: 1-800-365-2739

www.ebrew.com

44 years serving all home winemakers & brewers’ needs! Come visit for a real Homebrew Super Store experience!

WINEMAKER DIRECTORY

ALTERNATIVE BEVERAGE (CHARLOTTE)

3911 South Blvd.

Charlotte 28209

Advice Line: (704) 825-8400

Order Line: 1-800-365-2739

www.ebrew.com

44 years serving all home winemakers & brewers’ needs! Visit our stores to learn how we can help you make the best wine you can make.

ALTERNATIVE BEVERAGE (CORNELIUS)

19725 Oak St.

Cornelius 28031

Voice Line: (704) 527-2337

Fax Line: (704) 522-6427

www.ebrew.com

44 years serving all home winemakers & brewers’ needs! Visit our stores to learn how we can help you make the best wine you can make.

AMERICAN BREWMASTER

3021-5 Stony Brook Dr. Raleigh 27604 (919) 850-0095

www.americanbrewmaster.com

Supplying wine makers with the finest wine kits, ingredients and supplies since 1983. Winemaking is fun with American Brewmaster!

ASHEVILLE BREWERS SUPPLY 712-B Merrimon Ave. Asheville 28804 (828) 358-3536

www.ashevillebrewers.com

Value. Quality. Service. Since 1994.

CAROLINA WINE SUPPLY

329 W. Maple St. Yadkinville 27055 (336) 677-6831

fax: (336) 677-1048

www.carolinawinesupply.com

Home Winemaking Supplies & Support.

OHIO

THE GRAPE AND GRANARY

915 Home Ave. Akron 44310 (330) 633-7223

www.grapeandgranary.com

Concentrates, Fresh juice, Wine on Premise.

LABEL PEELERS BEER & WINE MAKING SUPPLIES, INC.

211 Cherry St. Kent 44240 (330) 678-6400

info@labelpeelers.com

www.labelpeelers.com

Specializing in winemaking/ homebrew supplies & equipment. Free monthly classes.

Hours: Mon-Sun 10am-7pm

MIAMI VALLEY BREWTENSILS

2617 S. Smithville Rd. Dayton 45420

Next Door to Belmont Party Supply (937) 252-4724

chad@schwartzbeer.com

www.brewtensils.com

Beer, wine & cheese making supplies. Monthly classes.

OKLAHOMA

HIGH GRAVITY 6808 S. Memorial Drive Tulsa 74133 (918) 461-2605

e-mail: store@highgravitybrew.com

www.highgravitybrew.com

Join our Frequent Fermenters Club!

OREGON

F.H. STEINBART CO. 234 SE 12th Ave. Portland 97214

(503) 232-8793 fax: (503) 238-1649

e-mail: info@fhsteinbart.com

www.fhsteinbart.com

Brewing and Wine making supplies since 1918!

HOME FERMENTER

123 Monroe Street Eugene 97402 (541) 485-6238

www.homefermenter.com

Providing equipment, supplies and advice to winemakers and homebrewers for over 40 years.

VADAI BARRELS 326 N. 2nd St.

Drain 97435 (626) 289-8250

vadaiworldtd@sbcglobal.net

www.vadaiwinebarrels.com

www.vadaibarrels.org

LOWEST FACTORY PRICE IN THE USA. FRENCH & HUNGARIAN STYLE BARRELS. From 1/2 to 5000L Sizes. Wine press various sizes, Vinegar Barrels, Pickle Barrels. This Zemplen Oak won the highest recognition in the Italian Competition for the Best Tasting Wine!

PENNSYLVANIA

BOOTLEGGERS BREW SHOP, LLC

917 Pleasant Valley Blvd.

Altoona 16602

(814) 931-9962

http://bootleggersbrewshop.com

bootleggersbrewshop@gmail.com

Find us on Facebook! Central PA’s LARGEST homebrew supplies store! We carry seasonal cold pressed wine juices from around the world. Special orders welcome!

KEYSTONE HOMEBREW SUPPLY

435 Doylestown Rd.

Montgomeryville 18936 (215) 855-0100

sales@keystonehomebrew.com

www.keystonehomebrew.com

Huge selection of ingredients and equipment for home winemakers and starting wineries. Fresh grapes and juice in spring and fall!

LANCASTER HOMEBREW

1551 Manheim Pike

Lancaster 17601 (717) 517-8785

www.lancasterhomebrew.com

info@lancasterhomebrew.com

Your source for all your wine making and beer brewing needs!

NITTANY VALLEY TRUE VALUE

1169 Nittany Valley Drive

Bellefonte

(814) 383-2809 fax: (814) 383-4884

Supplies - Equipment - Classes.

Fresh grapes & juice in season.

PRESQUE ISLE WINE CELLARS

9440 W. Main Rd. (US Rte. 20) North East 16428 (800) 488-7492

www.piwine.com

Your one stop shop! Complete service since 1964, helping you make great wines. We specialize in small winery and amateur wine supplies and equipment. Check out our website www.piwine.com or stop by and see us. Fresh grapes and juice at harvest.

SCOTZIN BROTHERS

65 N. Fifth St.

Lemoyne 17043 (717) 737-0483 or 800-791-1464

www.scotzinbros.com email: shop@scotzinbros.com WINE and Beer MAKERS PARADISE!

RHODE ISLAND

SILVER LAKE BEER AND WINE MAKING SUPPLY

65 Moorefield Street

Providence 02909 (401) 944-4320

silverlakebeerwine.com

Your complete supplier for more than 40 years, helping you make the finest wines and brew the first time...and every time.

TEXAS

AUSTIN HOMEBREW SUPPLY

15112 N. Interstate Hwy 35 Austin 78728 (512) 300-BREW email: hops@austinhomebrew.com Visit us at www.AustinHomebrew.com

Premium Wine Kits, Fruit, Honey, Fruit Presses, Apple Crushers, and Fermentors. Everything for the beginner and the seasoned winemaker.

HOMEBREW HEADQUARTERS

300 N. Coit Rd., Suite 134 Richardson

Toll free: 1-800-966-4144 or (972) 234-4411 fax: (972) 234-5005

www.homebrewhq.com

Proudly serving the Dallas area for 30+ years!

WASHINGTON

BADER BEER & WINE SUPPLY 711 Grand Blvd.

Vancouver, WA 98661 1-800-596-3610

Sign up for our free e-newsletter @ Baderbrewing.com

THE BEER ESSENTIALS

2624 South 112th St. #E-1 Lakewood 98499 (253) 581-4288

www.thebeeressentials.com

Mail order and secure on-line ordering available.

BREHM VINEYARDS® www.brehmvineyards.com

grapes@brehmvineyards.com

Phone: (510) 527.3675

Fresh grape pick-up in Underwood, WA

Frozen grapes in Portland, OR

Ultra-premium grapes for home winemakers for over 40 years! Sold at harvest or shipped frozen across N. America year-round. Over 30 varieties from Carneros, Napa, Sonoma, Washington and Oregon.

JON’S HOMEBREW AND WINE SUPPLY

1430 E. Main Ave., #1430C Puyallup 98372 (253) 286-7607

jon@jonshomebrew.com

jonshomebrew.com

Puyallup’s home for Home Beer and Winemaking supplies!

WISCONSIN

THE CELLAR BREW SHOP 465 N. Washburn St. Oshkosh 54904 (920) 517-1601

www.thecellarhomebrew.com

cellarbrewshop@outlook.com

Beer & Wine ingredients and equipment. Extensive inventory at Competitive prices, bulk discounts. Great service and free advice from experienced staff.

HOUSE OF HOMEBREW 410 Dousman St. Green Bay (920) 435-1007

staff@houseofhomebrew.com

www.houseofhomebrew.com

Beer, Wine, Cider, Mead, Soda, Coffee, Tea, Cheese Making.

WINE & HOP SHOP

1919 Monroe St. Madison 53711 (608) 257-0099

www.wineandhop.com

wineandhop@gmail.com

Madison, WI’s locally owned homebrewing and winemaking headquarters for over 40 years. Fast, affordable shipping to anywhere. Use promo code WineMaker at checkout for discounts. Free expert advice too!

CANADA ALBERTA

BREW FOR LESS 10774 - 95th Street

Edmonton T5H 2C9 (708) 422-0488

brewforless.com

info@brewforless.com

Edmonton’s Largest Wine & Beer Making Supply Store

GRAPES TO GLASS 5308 -17th Ave. SW

Calgary T3E 6S6 (403) 243-5907

www.grapestoglass.com

Calgary’s largest selection of brewing, winemaking & distilling supplies. On-line shopping available with delivery via Canada Post.

BRITISH COLUMBIA

BOSAGRAPE WINERY & BREW SUPPLIES 6908 Palm Ave.

Burnaby V5J 4M3 (604) 473-WINE fax: (604) 433-2810

info@bosagrape.com

www.bosagrape.com

Ingredients, equipment, labware & supplies for brew & winemaking. Still Spirits, Hanna, Stavin Oak, Brehm Vineyards, Mosti juices, Brewcraft, Marchisio, Accuvin, Chemetrics, Vintner’s Harvest, Lalvin, Buon Vino, Vintage Shop.

DRY FINISH

BY JOHN BATTISON

THE LEAKER

An old friend comes back

In my earlier days I lived in a couple of houses that boasted large cellars. As those were the intoxicating days when there was an explosion of winemaking in kitchens across the country, I decided to make good use of those cellars. Not grape wine, you understand, since that was almost unknown in England at the time, but rather fruit wines.

We used mainly hedgerow fruits such as blackberry, elderberry, rose hip, as well as some flowers, particularly elderflower. We pestered local inns and restaurants for discarded wine bottles; we bought bins, tubing, fermentation locks. We discussed with fellow enthusiasts esoteric matters such as the right temperature for fermentation and the best corks to buy. And I had a wonderful find at a local second-hand store — some large wire wine racks, enough to store some 30-dozen bottles. Life was exciting.

A particular batch has stayed in my memory; it was an elderberry wine in fact. One day as I entered the cellar I smelled the unmistakable odor of fermentation — but I had nothing actively fermenting at the time. Looking along my rows of wine racks I found the culprit. One of the bottles had popped its cork spewing most of its contents onto the floor — hence the rich aroma. It had fermented for a second time in the bottle with inevitable consequences. On checking the rest of that “vintage” I found that most of the bottles had started to push out their corks; the whole batch had started to re-ferment!

I remembered reading somewhere that Port makers, when the timing is right, add brandy to their must to arrest the fermentation. Capitalizing on this shred of knowledge I uncorked them all and gently poured the contents into a large container. My slender knowledge

did not include anything relating to the amount needed so I guessed, buying a couple of bottles of inexpensive brandy that I proceeded to add to the wine. My theory was correct and the bubbles soon stopped forming. This addition obviously changed the overall character of the concoction. And so I renamed it — Elderberry Port.

We now “fast forward” to last week. I have gotten rather old and no longer make wine and have moved houses, two or three times in fact, since that Elderberry Port. As a result, my wine cellar these days is a much more modest affair, just a wooden rack for a dozen bottles sitting in our store cupboard. Anyway, last week my wife told me that one of the bottles was leaking. Naturally, I did not want to waste any and so I looked into it right away. Fortunately it was just a small seepage so no harm was done. I wiped up the mess and took out the offending bottle. It proved to be one of my own homemade wines.

Ah, but the irony of it. The bottle was one from the batch that had popped its cork in earlier days! I had held onto a couple of bottles, moving them from house to house, thinking they would be suitable for some celebration; but none seems to have arisen. Of course, the leaking bottle had to be uncorked and so now was obviously the time to decant and taste it. Nectar! I would liken it to something between a sweet Sherry and a tawny Port. Certainly a drink to be sipped and savored, not knocked back like I used to do with many of my other homemade wines.

But the really interesting thing is the label. It reads “Elderberry Port 1984.” This wine is 36 years old; I think I can safely say that it has now matured. Maybe the occasion to open the last bottle will be next month, to celebrate my ninetieth birthday.

This wine is 36 years old; I think I can safely say that it has now matured.

Photo by John Battison