2021 WM FEBRUARY-MARCH

Crafting Carménère

Award-Winning Home Wine Labels

Successful Backyard Vineyard Case Study

BIG BATCH WINEMAKING

KEYS TO SCALING UP & MAKING MORE GREAT WINE

CREATING A WINERY IN YOUR GARAGE

ADDING FRUIT TO HOMEMADE MEAD

28 A HARMONY OF FRUIT AND HONEY

Fermenting fruit and honey is nearly as old as time, but there is more to consider than just tossing fruit in with honey and yeast. Matching fruit to honey varietal, processing the fruit, and contact time are just a few concepts to master when making fruit meads.

by Jason Phelps

36 2021 LABEL CONTEST WINNERS

Whether it was because people were cooped up with free time to pick up a new hobby in 2020 or something else, one thing we can say for sure is this year’s home wine label entries were some of the best we’ve received in our 21 years of running this contest.

42 GO BIG AT HOME

Home winemakers often start with 5-gallon (19-L) batches of wine. As they gain experience (and the number of friends and relatives who hear about their hobby and request a bottle increases) there often comes a time when larger batch sizes make sense. This means new equipment and considerations, which we’ll run through for anyone thinking about stepping it up. by Dominick

Profaci

48 ONE - STALL GARAGE WINERY

Tired of making wine in various places throughout his house, Richard Hector turned an unused stall of his garage into a winery. Use his advice and plans to create your own dedicated home winery space.

by Richard Hector

departments

8 MAIL

A reader points out differing opinions from two professional winemakers in a recent “Tips from the Pros” column, and another shares their own techniques for making country wines.

10 CELLAR DWELLERS

The 21st Annual WineMaker Home Wine Label Contest saw a slew of entries with COVID-19 themes. We compiled a few of our favorites for your viewing pleasure. Also, learn the basics to the why and when of racking and catch up on the latest news, products, and events.

14 TIPS FROM THE PROS

Two proficient meadmakers share advice for winemakers looking to make their first traditional honey wine.

16 WINE WIZARD

Sometimes we get several questions that revolve around a similar theme. The Wine Wizard had several questions this go-round on volatile acidity and malolactic fermentation. She provides some specifics for winemakers who have bigger picture problems on their hands.

20 VARIETAL FOCUS

Similar to a varietal like Malbec, Carménère has come to be identified with the wine growing regions of South America, but this grape actually was one of the classics of Bordeaux. Chik Brenneman explains the history of this varietal and how to tame this grape when it gets temperamental.

53 TECHNIQUES

There is a certain set of hobby winemakers that are happy with their current winery set up and volume. But for those that are looking to grow their hobby, here are some finer points to expanding your volume with fresh grapes.

56 BACKYARD VINES

Have you ever visited a vineyard and wondered, “How did they do that?!” You know the place, where all the vines seem to be in sync and healthy. Wes found such a hobby vineyard and decided to interview the green thumb.

64 DRY FINISH

Twenty years ago his dad was featured here in the pages of WineMaker magazine. But now that he has joined the ranks of home winemakers it’s his turn to talk about his drive to make his own wine.

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Dominick Profaci, Wes Hagen

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CONTRIBUTING ARTISTS

Jim Woodward, Chris Champine

CONTRIBUTING PHOTOGRAPHERS

Charles A. Parker, Les Jörgensen

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Maureen Macdonald Hawk Ridge Winery

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After jumping into some new varietals in 2019 and 2020 including Petite Sirah, Barbera, and Cabernet Franc, the grape I would be most interested in working with in 2021 is . . . drumroll . . . Chenin Blanc. The Chenin Blancs from California — especially those grown in Vouvray, Napa, and the Clarksburg AVA, have always driven my imagination. The mineral-driven, high-acid style really appeals to me as a wine drinker. As a winemaker, I always lead with my own palate — as I find making wines for myself (and an audience that recognizes that style) makes for better wines that are easier to be passionate about promoting and selling.

Being a cold-climate grape grower and winemaker, I have historically tried to maximize extractions from my red wine grape varieties to try to please my wife’s palate. She prefers dry tannic reds. There is only so much you can get out of the cold-tolerant varieties I grow, however, so I end up blending with more tannic reds from California to achieve what I am after. For 2021 I’d love to find a quality source for Tempranillo grapes to make wine from. This is one of my wife’s favorites . . . mine too, actually. I’m looking forward to a better year in 2021; hopefully with a great homemade Tempranillo to share.

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Going Pro Roundtable

The path to becoming a professional winemaker can take many forms, the key is to be adaptable. Here are four winemakers from around the U.S. (one a head winemaker) to explain what they did to get their foot in the door.

https://winemakermag.com/technique/ 1235-going-pro-roundtable

MEMBERS ONLY

Upgrade Your Home Winery

Whether you’re driven by quality, quantity, or efficiency — or by the high-tech joy of using the latest home winemaking toy — this guide will help you decide what specialized winemaking equipment, tools, and gadgets match your budget, annual wine production, and goals. https://winemakermag.com/ article/712-upgrade-your-home-winery

Your First Mead

All contents of WineMaker are Copyright © 2021 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 24, Number 1: February-March 2021

Once you have the basic concept of making wine, be it from a kit, juice, or fresh fruit, you can easily make other fermented beverages, including mead. Try using some of your new fermenting skills to make a tasty alternative to wine.

https://winemakermag.com/article/ your-first-mead

MEMBERS ONLY

Meritage Blending Tips

Beyond a commitment to using the same grapes as those used in the great wines of Bordeaux, making a Meritage blend is mostly a matter of a winemaker’s own tastes and preferences . . . and your options are limitless. Get some pointers from pros. https://winemakermag.com/technique/ meritage-roundtable

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* For full access to members’ only content and hundreds of pages of winemaking articles, techniques and troubleshooting, sign up for a 14-day free trial membership at winemakermag.com

Is there a grape varietal you would like to work with in 2021 that you have not worked with before?

RED WINE FERMENTATION DECISIONS

I read “Red Fermentation Decisions: Tips from the Pros” (from the October-November 2020 issue) and the two winemakers had basically opposite opinions so I’m not sure how inexperienced aspiring winemakers would use these tips. FYI, I’ve been a commercial winemaker for six years and I totally align with Chik Brenneman’s answers.

Mike

Gamble (Blue Mule Winery) • Fayetteville, Texas

WineMaker Editor Dawson Raspuzzi responds: “The expression of asking 10 doctors for their opinion and getting 11 answers notoriously applies to winemakers as well. Expressing that sentiment — that winemakers don’t all approach the process of making wine the same way — was the point behind the feature “Red Wine Fermentation Considerations” that ran in the same issue. In that article, WineMaker columnists and professional winemakers Wes Hagen and Alex Russan took different sides of various fermentation decisions that come up when making red wines and argued the merits of each side based on scientific evidence, their own experience, and some “that’s just the way I’ve always done it.” The “Tips from the Pros” column was an extension of that article, because there are certainly more than two arguments for each of the topics Wes and Alex debated.

“I understand where you are coming from that someone new to winemaking may feel lost when reading conflicting information, and we hope any readers who felt that way continued doing research on these topics, but the truth is there is no “right” way to make wine. If there was, we’d all be making the same wines and the hobby would be much less creative. Imagine never conducting process experiments or experiencing the excitement of trying a new technique? That’s what attracts so many people to this wonderful hobby!

“These ‘Tips from the Pros’ columns are intended to offer insight into what a couple of well-respected professional winemakers are doing, but it is just a snippet and nobody is going to argue that what works for one winemaker will work for another. Thank you for pointing this out and letting me get on my soapbox!”

HEATING VS. FREEZING FRUIT

I enjoyed the article “Making Berry Good Wines” from the June-July 2020 issue. I have been making fruit wines for almost 20 years, mostly from fresh fruit and berries that my wife and I have picked

Jason Phelps started homebrewing nearly 15 years ago, and like many hobbies it became a life changing experience. After first learning to make beer Jason branched out into cider, wine, and ultimately mead. Along the journey Jason has received more than 120 competition medals for a wide range of fermentations. As an author of articles in both WineMaker and Brew Your Own magazines, Jason loves to share his experiences and knowledge with other beverage makers. After recently retiring from a 25-year career in IT, Jason and his wife, Margot, opened Ancient Fire Mead & Cider, a producer of meads, ciders, and wines in Manchester, New Hampshire, in 2017.

Beginning on page 28, Jason shares tips, techniques, and recipes for making fruit meads.

Dominick Profaci’s interest in winemaking began by chance in 2008 when he received some excess Concord juice following an impromptu harvest at a local home vineyard. Instead of letting it go to waste, he went to a local winemaking supply shop and purchased a couple demijohns and made wine. He followed those instructions and after a number of months he was sharing palatable wine with family and friends. From there, Dominick decided to plant a vineyard at his Hudson Valley, New York home. The vineyard now encompasses more than 200 vines comprised of seven varieties of hybrid and native grapes and four varieties of table grapes.

Dominick explores the equipment and process considerations for making the move to big batch winemaking beginning on page 42.

Richard Hector, a native Oregonian, had a career as an engineer working for the Air Force Flight Test Center at Edwards AFB, California. As such he was involved in management of test ranges and developmental testing of numerous aircraft and cruise missiles. He has a BS in math/physics from Oregon State, a MS in engineering from Arizona, and a MS in management from Stanford. After retiring, he and his family moved to Roseburg, Oregon in the Umpqua Valley where he planted his first grapes and started making wine in 2008. Over time his vineyard expanded to a 1⁄3-acre with Pinot Noir, Syrah, Merlot, Muscat, Pinot Gris, and Zinfandel. He named his winery “Vučetić Cellars” after his Croatian roots on his mother’s side. During the winter months, he writes sci-fi and historical fiction screenplays. In this issue, Richard shares his plans, advice, and what he learned from turning a vacant one-stall garage into his home winery, beginning on page 48.

MAIL

ourselves. We have used frozen raspberries because we find picking them in the quantity needed too tedious. We have on occasion resorted to freezing the fresh berries for the reasons the author stated. But my mentor when I started suggested heating them instead. I add enough water to just cover them and then heat them on high heat on our electric range until the water steams. Just before it begins to steam you can see the color come out of the fruit into the water. You do not want it to boil — that happened once through my carelessness and the resulting wine had a burned straw flavor that persisted for a year until I threw the wine out. I then pour the heated water and fruit into a primary fermenter, add cool water to bring it up to volume, let it cool and add the other ingredients, similar to what Alex Russan recommended in the article. I typically use 4–5 lbs. of fruit/gallon (0.5–0.6 kg/L). Our wines have included blueberry, blackberry, red raspberry, strawberry, cranberry, tart cherry, black sweet cherry, apple, pear, elderberry, autumn olive, peach, apricot, pomegranate, and plum. We now use apple cider and cherry juice when making those wines because we are able to obtain them commercially and it is easier.

Although I only make fruit wines, and grape wines from kits, I enjoy your magazine immensely and read it from cover to cover. I attended the conference in Traverse City, Michigan, less than 150 miles from my home in 2019 and that was great, too. Keep up the good work!

Paul Wilson • Muskegon, Michigan

WineMaker Editor Dawson Raspuzzi responds: “Thanks for reaching out to us — we always love to hear feedback on stories, as well as techniques home winemakers are using that may differ from the norm. We passed your email on to Jason Phelps, who frequently writes for us and has run workshops on making country wines. Following is his response, however, I would first say that if what you are doing works for you, and you’re enjoying the resulting wines, then that’s great! Like I just said in the previous letter, there are many ways to make delicious wine.”

Take it away, Jason: “I don’t recommend heating fruit to break it down for winemaking. The act of heating the fruit can set the pectins and result in a haze that won’t be as easily remedied. You also risk a cooked flavor, but the reader already found that out. The freezing part I do recommend, however. This is the best way to give your berries, cherries, blueberries, etc. a mechanism to start falling apart. The work of fermentation is going to break most fruit down, and starting with defrosting fruit can ensure that happens almost right away. The feedback about picking is something I agree with from experience. Assuming the root challenge is the fruit mass and managing it through the fermentation; that can be solved. I have always encouraged the use of nylon straining bags for fruit in wine/meadmaking. This holds the majority of the fruit pulp back, but allows for full contact during fermentation and/or flavoring. Once the desired result is achieved this fruit can be easily removed, dumped into a fruit press, and pressed out; returning the juice to the wine. If the fruit quantity is relatively small it can even be hand pressed.”

RECENT NEWS

Wine and Cheese Lovers Rejoice

If you’re a fan of wine and cheese, today is your day to celebrate. A new study put out by a team of scientists out of Iowa State University noted that these two items can improve both cognitive function as well as combat against age-related cognitive degeneration such as Alzheimer’s disease. When the team evaluated a study of nearly 1,800 aging adults and their consumption of a broad range of food and drinks, what they uncovered was that cheese was hands down the best food to enjoy in order to protect against cognitive problems later in life. They also found that moderate daily consumption of alcohol (red wine in particular) improved cognitive function. If this topic peaks your interest, you can learn more at:

https://www.sciencedaily.com/releases/2020/12/201210145850.htm

New Products: The Big Book Of Cidermaking

Christopher Shockey and Kirsten K. Shockey turn their expertise to the world of fermented beverages in a guide to home cidermaking. With expert advice and step-by-step instructions, The Big Book of Cidermaking equips readers with the skills they need to make the cider they want: Sweet, dry, fruity, farmhouse-style, hopped, barrel-aged, or fortified. Readers will benefit from the authors’ years of experience cultivating an orchard and their experiments in producing their own ciders. This book is for any cidermaker, whether starting with apples fresh from the tree or working with store-bought juice. Cider recipes range from cornelian cherry to ginger, and styles including New England, Spanish, and late-season ciders. You can purchase a copy at better bookstores or at: https://www.storey.com/books/the-big-book-of-cidermaking/

Brewer’s Best® Kombucha Kits

A new series of kombucha recipe kits by Brewer’s Best® allows home winemakers to craft their own flavored kombucha at home. Each kit comes with the ingredients to craft one gallon (3.8 L) of fresh kombucha and is available in four flavors: Blackberry, hemp, passion fruit, and raspberry. Note that these kits do not include a SCOBY for fermentation, which needs to be purchased separately from a supplier. SCOBYs are not included since they can be reused time and again and don’t need to be started fresh each time. First time making kombucha? Each kit comes with its own detailed, stepby-step instructions for a successful batch the first time and every time.

http://brewersbestkits.com/kombucha.html

UPCOMING EVENTS

Backyard Grape Growing Online

Boot Camp with Wes Hagen

Former professional vineyard manager and WineMaker’s longtime “Backyard Vines” columnist Wes Hagen will lead an online Boot Camp for four hours detailing 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. https:// winemakermag.com/product/january-29-2021-onlinegrape-growing-boot-camp

12, 2021

29, 2021 FEBRUARY

Home Wine Lab Skills Online

Boot Camp with Bob Peak

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 step-by-step online over four hours teaching you live 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. https://winemakermag.com/product/winemakersonline-home-wine-lab-skills-boot-camp

COVID-19-THEMED LABELS

This past year all around the world, people have been affected by the COVID-19 pandemic and winemakers are no exception. With so many people at home it seems that many of you took advantage of the time to design labels for your wines. The 21st Annual WineMaker Label Contest saw more entries than ever before, including its fair share of COVID-19-themed labels. Here are just a few of our favorite pandemic-themed labels submitted by readers.

Tim Armbrecht Springfield, Illinois

Ronald Marvin Bakersfield, California

Tammy Reichert Mesa, Arizona

Wendy Barnett Los Gatos, California

Jake Flaherty Albany, California

BY DAVE GREEN

BEGINNER’S BLOCK THE BASICS OF RACKING WINE

or anyone that has been in the hobby for a while, you’ve seen the instructions, “Siphon wine into a vessel for aging,” or some variation of that. But tips and tricks to racking often go undisclosed. Racking wine is in its essence a simple process, but can easily be done poorly and negatively impact your wine. So today we’re going to run through some basic concepts of transferring your wine and ways you can improve your process to better your wine.

WAYS TO THE MEANS

Home winemakers will transfer their wines using either gravity to allow the wine to “fall” from one vessel to the other, or use an external force to either push or pull the wine into the receiving vessel. The first challenge to the transfer process is getting the line primed (filled with wine) to get the process going. Having a spigot near the bottom of your fermenter allows the transfer to occur with a simple siphon tube and the tube will self prime with the help of gravity. If you don’t have a spigot, then filling the tube with water, then submerging one end of the tube in your wine while placing the receiving vessel below allows the wine to flow from the higher spot to the lower spot. The water in the tube acts as the priming agent.

An auto-siphon is a hybrid system that can be purchased at any home winemaking or beermaking supply store. The auto-siphon starts the priming process by having the winemaker simply pull wine up into an oversized syringe-like tube. A clapper valve then closes as you push down on the syringe, forcing the wine up into the transfer line to achieve a prime.

Serious winemakers can step up to purchasing a wine transfer pump. In the commercial world there are many kinds of pumps used for various purposes:

Impeller pumps, lobe pumps, vane pumps, progressive cavity pumps, etc. But in the amateur world, diaphragm pumps are the most commonly used. They’re self priming and gentle on the wine during transfers. They can be seen in various configurations such as acting like a vacuum pump in the All-In-One Wine Pump or it can be used as an inline pump. Another mechanical way to push the wine from one vessel to another is to use compressed CO2, but this is not a common practice in the wine world.

WHEN TO TRANSFER

Wine is often racked many times early in its life for a multitude of reasons. Wine kit users should try to follow the instructions found in their kit on when to transfer. For winemakers using frozen must or juice, the first racking will not occur until after primary fermentation has finished. For fresh grape winemakers, first racking often will occur after the juice has been pressed from the grapes and unwanted particulates (gross lees) have had time to settle to the bottom. A second racking may be required for bigger red wines like a Cabernet Sauvignon.

A final round of racking is often employed once the fine lees are settled and a fining agent has been employed. This will often be a final racking of the wine unless more clarification is required before packaging.

RACKING STRATEGIES

For the most part, winemakers want to utilize what I would call a quiet rack, meaning that the tube in the receiving vessel is submerged in the wine as soon as there is enough liquid to get it under. This minimizes the oxygen pickup that occurs during the racking process. To further minimize this issue, an inert gas such as argon or carbon

dioxide could be used to “purge” the receiving vessel so that the wine has minimal contact with oxygen. This would only be truly needed for more delicate wines like whites and rosés.

Splash racking is the other style of racking and that would only be desired for bigger red wines where a strong tannin presence is noted. Oxygen introduced during the splash racking process can help bind the tannins and help them elongate and eventually fall out of solution, smoothing out the wine’s profile. Notes of sulfur can also be knocked down by a splash racking. To perform a splash rack, simply remove the tubing from below the liquid level to allow the wine to mix in with the oxygen found in the vessel’s air. Splash racking should only be employed early in the wine’s life, either in the first or second racking — never after longerterm aging has occurred.

OTHER TIPS FOR RACKING

For anyone that plans to step up to making more than 5-gallon (19-L) batch sizes or has a bad lower back, there are two popular options. First is moving from a gravity-fed racking system to a pump-driven one like the ones mentioned earlier in this column. The alternative to this though is to devise a hoist system. These can be operated using either a secure ratchet, electric winch, or other mechanical lift system.

Finally a note about tubing dimensions and how they affect transfer rates. Remember back in arithmetic that the area of a circle grows exponentially based on its radius: A = πr2. So if you double your tubing’s radius, you’re not just doubling its transfer speed/volume, you’re squaring it. While this can mean much faster transfers, it also can create a lot more turbulence and potential for oxygen ingress if not handled properly. Just some factors to consider.

TIPS FROM THE PROS

BY DAWSON RASPUZZI

MAKE YOUR FIRST TRADITIONAL MEAD

Introduction to honey wine

Want to try something new between grape harvest seasons? How about trying your hand at making mead, a wine made from honey? Meads come in many different forms — from dry to sweet, with added fruit (melomel), malt (braggot), spices (metheglin), and so on. But to get a good foundation for your meadmaking, start at the beginning with traditional mead. These pros will get you on the right track.

Ilike many different honeys for mead. The key element I look for is a really vibrant and attractive aromatic profile. There is a huge spectrum of floral aromatics — on the end I like are things like carnations, roses, and fruit blossoms. They are clear, pleasing, and smell like things you might want to put in your mouth. The spectrum gets less attractive as it goes through the less fruity, to vegetal, to earthy, and even to stuff like daisies that are nearly fecal. Citrus blossom or orange blossom has been a consistent honey that we can get in the quantities we need. We also use some wildflower, but we evaluate the lots before we buy them. Wildflower is a catch-all descriptor, and great care is required.

When choosing your own, taste a lot of honey and decide what you like. For traditionals, especially, I like honeys that really bring it, so to speak, aromatically and on the palate.

Like beer, mead is mostly made from water. Our municipal water in Detroit is very similar to the spring water we have access to, and the assay and the taste is right in the window we want so we don’t have to do any treatment. There are no real historical examples of meads from specific water profiles that determine whether or not you are “to style,” as there are in beers.

180-225 ppm of free amino nitrogen (FAN) for meads that will hit 12% alcohol. I did not know about nutrient additions when I got started, and that change (even without staggering) turned my meads around dramatically.

Yeast choice is dependent on which characteristics I want to accentuate in the honey, and what I would like to see as a finishing alcohol level. We like Lalvin 71B-1122, ICV D-254, and the Chico beer strain (yes, we do use ale yeasts). We have also used and enjoyed Steinberger and other Riesling strains.

We don’t use potassium sorbate due to distributor restrictions, but as a home meadmaker you don’t have that restriction if you make a mead that comes out drier than you’d like. Using a 5-gallon (19-L) batch as an example, at bottling, I would pull off four cups of the mead into a sanitized eight cup measuring cup, and add 1 pound (0.45 kg) of honey at a time, stir thoroughly, and mix that back into the whole batch, re-taste, and repeat until I got to the level I wanted.

I like to get off the initial fermentation lees in about 28 days. I’ll make a decision about whether to rack again once I see how much sediment is thrown in secondary. I have done some again in another month, and I have let some go a year or longer.

Ken Schramm is Owner/Head Meadmaker at Schramm’s Mead in Ferndale, Michigan, and the author of The Compleat Meadmaker, (Brewers Publications, 2013), the current reference text of record on meadmaking. Ken has been making mead since 1988. He co-founded the Mazer Cup Mead Competition in 1992, the world’s oldest and largest mead-only competition. Ken is also an avid fruit grower, and has grafted multiple varieties of cherries and apples onto trees in his orchard.

As far as nutrients go, we currently prefer a combination of DAP (diammonium phosphate) and Fermaid O. We use it in four additions, one every 24 hours, starting at the end of lag phase. I actually divide the total amount of nutrient I will use into five equal parts, and start with two for the first addition and one thereafter. We like to shoot for

The investment in time and effort to actually make your mead can be much less than in making other wines, but you need to take that time and use it to find the best possible ingredients you can find — honey, fruit, spices, whatever. What our grandparents said is true: You can’t make a silk purse out of a sow’s ear. Quality in, quality out.

I did not know about nutrient additions when I got started, and that change (even without staggering) turned my meads around dramatically.

It all started back in 1995, when Michael Fairbrother tried a cyser (apple and honey mead) for the first time. Since that first sip he has developed a passion and a masterful skill at making international award-winning meads and ciders. Michael opened Moonlight Meadery in Londonderry, New Hampshire in 2010 and is President of the American Mead Makers Association. He also helped develop and has taught the meadmaking course at The Honey and Pollination Center at the Robert Mondavi Institute at UC-Davis.

For my meads I prefer the lighter-colored honeys like orange blossom and star thistle over darker honeys, which have a stronger flavor that can be a bit off-putting. The key is to taste the honey and make sure it’s something you like.

The minimum requirements to make mead are a 6-gallon (23-L) food-grade fermenter, 15 lbs. (6.8 kg) of honey, water, nutrients, yeast, and sanitizer. Even more so than with other wines, the yeast you use will make all the difference to the mead you make. My go-to yeast for meadmaking is Lalvin 71B-1122 dry yeast. I use it commercially for everything we make. As a home meadmaker I have also had good success with Lalvin 47D as well. White Labs and Wyeast also have many good choices of mead yeast.

When it comes to hitting the desired sweetness of a mead my preference is to make the mead bigger than the yeast can handle and fermenting to the desired sweetness level before

stabilizing the mead. To do this I will have a mead that starts out with a gravity greater than 1.120 and then we stabilize after primary fermentation has completed.

For a 5-gallon (19-L) batch of mead, do the following: In a small drinking glass add about 1⁄2 cup of good-tasting water. Add 1⁄4 teaspoon of potassium metabisulfite and 33⁄4 teaspoons of potassium sorbate (also called Sorbistat-K) into that water; stir until fully dissolved. Gently add this water/liquid into your 5 gallons (19 L) of mead and stir gently for about a minute. Re-seal the fermenter and let the mead sit undisturbed for 12 hours.

Excellent mead can be ready in weeks, however I tend to age my meads with a minimal bulk storage time of three months to assist in the natural clarifying of the meads.

Get more tips and a recipe from Michael Fairbrother at https://wine makermag.com/technique/traditionalmeadmaking-tips-from-the-pros

WINE WIZARD

BY ALISON CROWE

OXYGEN INGRESSION

Also: Volatile acidity interventions, sorbate question, and malolactic timing

QI WAS CARELESS, AND LET AIR GET INTO A TANK CONTAINING ABOUT 60 GALLONS (227 L ) OF CABERNET SAUVIGNON. IT NOW HAS A SLIGHTLY STALE OXIDIZED TASTE. IS THERE A WAY TO RECOVER THE WINE?

JOHN BOLLES SIMI VALLEY, CALIFORNIA

ADon’t worry, it’s happened to the best of us! If you can, check your pH and your VA (volatile acidity) to try to get a handle on whether or not this air intrusion caused any chemistryaltering damage to the wine. What I mean is, sometimes when we have an oxygen incursion it can mean an increase in spoilage bacteria that can lead to high VAs, film yeasts, and other issues. For this reason, if you have the capability, I’d sterile filter this wine immediately to rule out the possibility of a high count of spoilage organisms in the wine. That being done, you can focus on some of the following approaches to try to “recover” the wine and nudge it back to where it was heading before it got a big oxygen shock.

Get it topped, adjust pH (if needed), and add SO2: If you can filter your wine, do it as soon as you can to remove the possibility of microbial damage. Then, adjust the free SO2 up to a healthy zone, which for a filtered red wine like Cabernet can often be 25–35 ppm, as long as your pH is under control. What I mean by under control is subjective. I’ve given up chasing the holy grail “molecular SO2” of 0.8 ppm. Molecular SO2 is a measurement based on both the pH and free SO2 of a wine, and to achieve 0.8 ppm, more often than not your pH has to be very low, your SO2 level very high, or both. Because of style and taste (hey, we want our wines to taste good, right?), getting any wine, especially a red wine, to conform to those parameters is just not real-

istic. For that reason, I choose to have my pHs for reds rest between 3.5–3.75 and my free SO2 between 25–35 ppm. I’ve found over the years that that’s a pretty good sweet spot for me, as long as I’m topping barrels monthly and monitoring my oxygen ingress as well as VA levels. Blend out the defect: Don’t forget that blending is always an option . . . as long as you have other wines. Do your winemaking buddies have some gallons they could lend you this year in exchange for replacement in a future year? In a pinch, and only with full disclosure to your friends (no bragging rights on bought wine!), I do think it’s OK to purchase a bottle or two off of the shelf to be able to blend something down. However, this probably won’t work with a 60-gallon (227-L) lot — that’s a lot of wine you’d have to buy! However, it’s likely that you’ve got other avenues, so read on below.

Try an oxidation-specific fining agent: Most winemaking supply companies (AEB, Laffort, Scott Labs, etc.) will have a fining agent that specifically targets oxidized aromas and flavors. Often, they contain PVPP, and may strip color, so do be sure you do bench trials first. Have a chat with a sales representative or check out their websites and it’s likely you’ll find something that could help.

Try refreshing with oak chips: Sometimes all a wine needs, especially a red like a Cabernet, is a little bit of oak. If your wine got a big hit of oxygen, I’m guessing it lost some of its fruit character. There are a number of oak chips on

Unwanted oxidation is a common problem for small-scale winemakers. It can be detected by browning noted around the edge of wine.

Sometimes all a wine needs, especially a red like a Cabernet, is a little bit of oak.

the market that can help contribute not exactly fruity flavors, but elements like spice, coffee, or vanilla. These chips don’t actually have spice, coffee, or vanilla in them — they are just specifically sourced and toasted to express those characteristics in wine. For a barrel or even a carboy, you can easily make a little chip “sock” by putting small chips into a mesh or nylon bag. A nylon stocking makes a perfect single-use bag. To punch up some new aromas and add back some of the antioxidants you lost (also, see “Try a fining tannin”, below) experiment with about 1–2 g/L chip addition and see where that takes you. As always, be sure to buy chips from a reputable supplier with high turnover for freshness and best quality.

Try a fining tannin: As logic would have it, you’ve introduced oxygen, which has reacted with some of the natural antioxidants in your Cabernet (the color and tannin molecules). So it would make sense that now you have to build them back up again, right? Some of my favorite, and certainly the most

versatile, winemaking aids I’ve discovered in the last five years are the new breed of oak and grape tannins available on the market. The aforementioned winemaking supply companies all carry different kinds of tannins that can be added during fermentation, aging, or even just before bottling, to boost body, grip, or even to give a subtle oak flavor. They are extracts from oak and grape skins, typically, so are just another way of introducing some of the elements you’d get from a barrel or from fermentation. They can also do wonders in reviving and refreshing a wine that is getting tired from age or suffered an untimely accident, like yours. Again, be sure to do bench trials so you see what works and at what levels. All suppliers should be willing to give you a tiny packet or vial with which to do trials before making a purchase, and likewise should be able to guide you towards which of their products they think would work the best. Good luck — I have faith that your wine is not beyond rescue.

QBECAUSE OF TRAVEL RESTRICTIONS OVER THE PAST FEW MONTHS, I WAS UNABLE TO RACK MY 2019 ( NEW ZEALAND ) PINOTAGE FROM A SPEIDEL PLASTIC FERMENTER TO THE STAINLESS CONTAINER OR ADEQUATELY MANAGE SULFITE LEVELS ( BASICALLY I WAS UNABLE TO TRAVEL BACK FROM THE U.S. TO NEW ZEALAND UNTIL RECENTLY ). I COULD TASTE VOLATILE ACIDITY ( VA ) AND SENT THE WINE OFF FOR TESTING:

Sample Name: Pinotage 2019

Lab Number: 2452770.1

I HAVE READ THAT THE LEGAL THRESHOLD FOR VA IS 0.7 g/L AND BLENDING IS THE BEST SOLUTION. SO FAR, I HAVE ADDED ANOTHER 1 g/L OF TARTARIC ACID AND BUMPED UP THE SULFITE TO 75 PPM. UNFORTUNATELY, I DON’T HAVE ANY BLENDING WINE. IT IS OK TO DRINK, ESPECIALLY WITH FOOD, SO I AM RELUCTANT TO DUMP IT. DO YOU HAVE ANY SUGGESTIONS? I DON’T NORMALLY FILTER MY WINES SHOULD I PASS THROUGH A STERILE FILTER BEFORE BOTTLING, ANY OTHER WAY TO REDUCE THE VA OR MINIMIZE THE SENSORY IMPACT AND CAN I PREVENT IT DETERIORATING FURTHER?

ASadly, blending VA levels downward remains the only option available for reducing VA content in small lots. Larger commercial wineries, with big lots and bigger pocketbooks, can afford the expense of reverse osmosis and distillation technology to remove it from their wines but there’s no affordable option for small producers. Simple filtration doesn’t work to

remove VA, though sterile filtration can certainly remove the spoilage yeast and bacteria that may be contributing to it.

The good news for you is that your VA levels are nowhere near approaching legal limits. The legal limit for VA in the U.S. is actually 1.1 g/L for white wines, and 1.2 g/L for red wines. At these levels, I indeed do find the wine objectionable. Sensorially, at 0.6 g/L, you should be within a tolerable range, especially

Sample Type: Red Wine

for a wine that is already a year old. VA tends to climb with time and even though you had a moment during the wine’s lifetime where you weren’t able to keep the SO2 levels up in ideal ranges, it’s actually not that bad. It is possible, however,

down — that’ll help prevent some of the inevitable future VA creep. (For other reader’s reference, it always helps me diagnose a problem when I can see a wine’s analysis; it gives a bigger picture, so thank you very much for including yours!)

that you’re also smelling some aldehydes or acetaldehyde, which can smell like nail polish remover or paint thinners. If that’s the case, your SO2 addition should help bind up some of these and reduce the perception of those offensive aromas.

At a free SO2 of 35 ppm and a total SO2 of 82 ppm, I wouldn’t worry about the wine being safe to consume; it certainly is. Many wines are bottled with free SO2 in that range and though I’d certainly be wary of big additions in the future, your big add should tide you over for at least a couple of months as long as the wine isn’t exposed to oxygen and isn’t carrying a high microbial load. If you do suspect you’ve got spoilage bacteria (if you have any film yeasts growing, or if the wine is cloudy and spritzy where it should be clear and settled), you might want to filter it anyways.

I’m glad that you added some tartaric acid to get your pH

High pHs, especially coupled with oxygen exposure and low SO2, are notorious for leading you down the path to VA issues. Indeed, VA prevention is something about which an entire book can be written. Just give a search on WineMaker magazine’s website, winemakermag.com, for some great free articles and member’s-only content. VA is definitely something where an ounce of prevention is worth a pound of cure.

For your wine, in your case, I’d say that if you like how the wine tastes, feel free to keep it as topped as possible, with your free SO2 levels up between 25–30 ppm, and see how it ages over the next month. I know it sounds a little blasphemous but, in the past, I have told readers (if they don’t feel like it’s breaking all the rules) that it’s OK to buy some wine to blend if it helps rescue a batch. Just be sure to tell your friends and family full disclosure that it’s not all yours . . . if it turns out tasty!

MY RED WINE MEASURES TARTARIC ACID: 50%, MALIC ACID: 25%, AND LACTIC ACID: 25% BY CHROMATIC PAPER. AT WHAT % LACTIC ACID IS IT SAFE TO ADD SORBATE SO WINE CAN BE SWEETENED A LITTLE AND NOT RISK NEGATIVE RESULTS. CAN YOU ADD A REDUCED AMOUNT OF SORBATE IF NECESSARY?

Winemakers typically add sorbate (aka sorbic acid, often purchased as potassium sorbate) when they want to bottle a wine with a little residual sugar. It is often added right before backsweetening and bottling. Sorbate will inhibit the reproduction of yeast cells but it will not “kill” yeast, nor will it inhibit or kill bacteria. It should always be added in the recommended doses; too short of a dose will not inhibit the yeast from continued growth.

As you hint in your letter, if you add sorbate before the ML fermentation is complete, you run the risk of a geranium-like

off-odor that can really ruin the aromas and flavors of your wine. For this reason, I recommend that you wait until your “malic acid spot” on your chromatograph disappears entirely, which means that you’ll have an ML complete wine.

It’s really difficult to determine the amount of lactic acid you have based on the size of a spot on a chromatograph, so I always have just gone with the “malic spot” disappearing. Because chromatography is tricky to do and somewhat inexact, I’ve always been a fan of sending in my wine for malate analysis when you think it might be done (often when you hear the little CO2 bubbles stop ‘ticking’ in the fermenter).

RECENTLY I CONDUCTED A PAPER CHROMATOGRAPHY TEST TO CHECK THE STATUS OF MALOLACTIC FERMENTATION INTRODUCED THIS FALL INTO A NUMBER OF 5- GALLON (19- L ) MARQUETTE CARBOYS PRODUCED FROM MY BACKYARD VINEYARD. RESULTS SHOWED PLENTY OF MALIC ACID STILL PRESENT. I PLAN TO COLD STABILIZE OVER THE WINTER MONTHS IN MY WINERY. WILL MALOLACTIC FERMENTATION UNDER THESE CIRCUMSTANCES NATURALLY KICK BACK IN WHEN TEMPERATURES RISE IN THE WINERY IN THE SPRING? OR IS IT BEST TO RE - INOCULATE WITH NEW CULTURE AND NUTRIENTS IN THE SPRING?

JIM BOUTIN POWNAL, VERMONT

RICH ROMANOWSKI GREENWOOD SPRINGS, MISSISSIPPI

Sadly, blending VA levels downward remains the only option available for reducing VA content in small lots.

I always think it’s wonderful when people can do a “natural” cold stabilization over the winter months. It’s an incredibly intuitive and very old-fashioned, non-interventionist way to accomplish a key winemaking task. It never gets cold enough here in Napa, California during the winter to really knock down any significant amount of our tartrate crystals (the goal of cold stabilizing a wine), so that’s very cool (LOL) if you can do it. I do indeed think that it’s very likely that your malolactic fermentation will re-start once the weather warms up.

Instead of re-inoculating (malolactic bacteria are expensive!) you could wait and see if you start to get any activity when the temperatures start to rise. You can do this by monitoring the disappearance of the malic acid spot on your paper chromatography test. In addition, you can also listen at the mouth of your carboys for the little “tick . . . tick . . . tick” of carbon dioxide bubbles being produced by an active malolactic fermentation.

To be sure that you’re detecting any change, do a chromatography measurement right before you put your wines out in the cold to start stabilizing. On your paper, since the spots will fade over time as the solvent degrades, very carefully (don’t touch the paper with your hands, use gloves as the solvent is toxic) draw a pencil line around the little malic blob. This way when you test again in the

springtime months, or whenever you believe malolactic fermentation has resumed, you’ll be able to see if the size of your spot has shrunk and if activity has indeed kicked back into gear.

If you don’t see any signs of activity after the weather has been warm (above 55 °F/13 °C) for a few weeks, and if you’ve tried things like bringing your carboys inside or wrapped them with electric blankets, then it’s time to consider re-inoculating. Make sure that the alcohol isn’t too high (>14.5% is inhibitory), the pH too low (<3.3 is inhibitory), or the temperature too low (>55 °F/13 °C is ideal).

I’m so glad that you mention malolactic nutrients! So many people just toss in a bunch of bacteria and hope for the best, not realizing that malolactic bacteria are even more fastidious in their nutritional needs than yeast cells are. Especially since the wine has been sitting for a while, it’s possible that many things have fallen to the bottom of the vessel or have been consumed (albeit slowly) over the winter’s nap and are now unavailable. Re-supplementing with a nutrient at this time is key.

Additionally, be sure not to add any SO2 as malolactic bacteria are extremely sensitive to sulfur dioxide. Hold that addition until you have confirmed completion. Good luck with your cold stability, and I hope that your wine does reignite its malolactic fermentation in the spring. If not, re-inoculating is nothing to be ashamed about!

VARIETAL FOCUS

BY CHIK BRENNEMAN

COLORFUL CARMÉNÈRE

Almost ten years ago my wife Polly and I visited the city of Bordeaux in the southwest part of France and toured its famed surrounding wine country. A truly memorable experience that ranged from pop-up wine tastings, gastronomic indulgences, and the much-revered activity of dodging pigeon bombs in the city center. But why the trip was also most memorable is that I got to really understand the region’s geography, soils, grape varieties, and why these specific varieties were grown where they were. Years earlier as a student of wine I couldn’t quite grasp Left Bank versus Right Bank, they were just lines and dots on a map. But there it was right in front of me, and it all started coming together. The sun, the winds, the microclimates, the geology . . . Cabernet Sauvignon, Cabernet Franc, Merlot, Petit Verdot, and Malbec; were all starting to make sense.

But there were more varieties it seemed as I teased through my limited French language skills and our guide telling us that some words just do not translate very well . . . kind of like Inuit language and their 50 words for snow. It made sense with such a long history of wine growing in the region that there had to be more than just the “big five.” Returning home and slightly jet-lagged, I was reading more and understanding more about the region and I came across another red variety that must have been what our hosts were talking about. Certainly not obscure in the wine world, just not a lot of it left in post-Phylloxera Bordeaux, and it blends (pun intended) into the landscape with those big five.

Carménère is an old variety from the Gironde region of France. It is a vigorous red grape varietal with small clusters and medium-sized berries. Its leaves are the typical Bordeaux shape with five slightly overlapping lobes, and an upper leaf sinus with a tooth at the margin. If this sounds like a couple of the other Bordeaux reds, then you are correct. The DNA parentage has recently established that Carménère is a natural cross between Cabernet Franc and Gros Cabernet, an even older variety from the Gironde and the Tarn, which was often confused with Cabernet Franc.

Gros Cabernet is now largely uncultivated, however, the DNA truth seekers have determined that Carménère and Cabernet Franc have a high level on consanguinity, or common ancestry. It turns out that Carménère is both a progeny and great-grandchild of Cabernet Franc, a half sibling of both Cabernet Sauvignon and Merlot. That explains all the confusion between them and what our hosts were talking about on that trip to Bordeaux. The confusion does not stop at Bordeaux, and thanks to the DNA truth seekers, many of the Cabernet Franc and Merlot vines of Italy, Chile, China, and California, were determined to actually be misidentified Carménère. China took it a step further in 1892 and imported cuttings under the name Cabernet Gernischt, German for “mixed Cabernet,” which refers to the broad ampelographic group called Carmenet. And here I thought it was hard to get my head around the family tree I married into!

The Phylloxera epidemic of France in the 1860s really changed how the Carmenet ampelographic group was

Make the best from this old Bordeaux varietal

The DNA parentage has recently established that Carménère is a natural cross between Cabernet Franc and Gros Cabernet . . .

CARMÉNÈRE Yield 5 gallons (19 L)

INGREDIENTS

125 lbs. (57 kg) Carménère fruit

Distilled water

10% potassium metabisulfite (KMBS) solution. (Weigh 10 grams of KMBS, dissolve into about 50 mL of distilled water. When completely dissolved, make up to 100 mL total with distilled water.)

5 g Lallemand D254 yeast

5 g Diammonium phosphate (DAP)

5 g Go-Ferm

5 g Fermaid K (or equivalent yeast nutrient)

Malolactic Fermentation Starter Culture (CHR Hansen or Equivalent)

OTHER EQUIPMENT OR NEEDS SPECIFIC TO THIS RECIPE

15-gallon (57-L) food-grade plastic bucket for primary fermentation

5-gallon (19-L) carboy

1–2 one-gallon (3.8-L) jugs

Racking hoses

Destemmer/crusher

Wine press

Inert gas (nitrogen, argon, or carbon dioxide)

Ability to maintain a fermentation temperature of 81–86 °F (27–32 °C)

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

Tartaric acid – addition rate is based on acid testing results.

STEP BY STEP

1. Clean and sanitize all your winemaking tools, supplies and equipment.

2. Destem and gently crush the grapes. Transfer the must to your bucket.

3. During the transfer, add 15 mL of 10% KMBS solution (This addition is the equivalent of 50 ppm SO2).

4. Take a sample of must to test for Brix, acidity, and pH. Keep the results handy. We’ll take this up later.

5. Layer the headspace with inert gas and keep covered. Keep in a cool place overnight.

6. The next day sprinkle the Fermaid K directly to the must and mix well.

7. Go back to those lab results you took yesterday. Typical Brix for this style is 24–25 °Brix. Typical acid levels will be 0.58–0.62%. Adjust as nec-

essary using tartaric acid. If the acid is higher than 0.7%, don’t panic, this recipe calls for a minimum final acidity of 0.55%. Higher acid won’t hurt here.

8. 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. When the yeast is ready, add it to the fermenter.

9. You should see signs of fermentation within about 1–2 days. This is referred to as the “cap rise.” You need to have on hand the ability to push the grapes back into the juice to promote color, tannin extraction, and to distribute the heat produced by the yeast. This is called “punching down” and this should be done three times per day. Use a clean utensil to mix.

10. Monitor the Brix and temperature twice daily during peak fermentation (10–21 °Brix). Morning and evening is best and more often if the temperature shows any indication of exceeding 86 °F (30 °C) in which case place frozen water bottles (or Chiller apparatus) into the fermentation then mix. Wait 15 minutes, mix and check the temperature again. Do this as often as it takes to keep the temperature between 81–86 °F (27–32 °C). Do not cool off to less than 81 °F (27 °C). Alternatively, you may need to keep the must warm in a colder climate.

11. At about 19 °Brix, sprinkle in the DAP and punchdown.

12. When the Brix reaches 4 °Brix (about 4–5 days), transfer the must to your press, and press the cake dry. Keep the free run wine separate from the press portion for now. Be sure to

label your vessels.

13. Transfer the wine to your carboy and 1-gallon (3.8-L) jugs. Your press fraction may only be 1–2 gallons (3.8–7.6 L). Make sure you do not have any head space. Label the vessels.

14. Inoculate with your malolactic (ML) bacteria. Check the manufacturer’s instructions on how to prepare and inoculate. Cover the tops with an airlock to allow CO2 to escape.

15. Monitor the ML fermentation using a thin layer chromatography assay available from most home winemaking supply stores. Follow the instructions included in the kit.

16. When the ML is complete, add 2 mL of fresh KMBS (10%) solution per gallon (3.8 L) of wine. This is the equivalent to ~40 ppm addition.

17. Measure the pH and titratable acidity. Most importantly you want a finished TA of about 0.55–0.6%. The pH is secondary but should be around 3.6. Add acid to adjust prior to settling. Place the wine in a cool place to settle.

18. After two weeks, test for SO2, adjust the SO2 as necessary to attain 0.8 ppm molecular SO2. (There is a simple SO2 calculator at winemakermag.com/ sulfitecalculator). Check the SO2 in another two weeks and adjust. Once the free SO2 is adjusted, maintain at this level. You’ll just need to check every two months or so and before racking.

19. Rack the wine clean twice over a 6–8 month time frame to clarify.

20. Once the wine is cleared, it is time to move it to the bottle. This would be about eight months after the completion of fermentation. Make the project fun by having a blending party to integrate the press fraction back into the free run. You may not need it all, use your judgment and make what you like. Fining with egg whites may be necessary to tame the tannins.

21. Filtration is generally not needed if SO2 levels are maintained and there are no surface films or indications of subsequent fermentations. If all has gone well to this point it can probably be bottled without filtration. That said, maintain sanitary conditions while bottling. Once bottled, you’ll need to periodically check your work by opening a bottle to enjoy with friends.

VARIETAL FOCUS

distributed in Bordeaux. Both Malbec and Carménère were widely planted, but in the post-Phylloxera world, Malbec did not graft to rootstock well and Carménère was subject to poor fruit set and inconsistent yields. Thus, their respective vineyard acreage decreased in France . . . only to be introduced in other parts of the world where they both performed very well and made some nice wines. Carménère’s current power base is Chile where it was planted as a field blend with Merlot and, given the long history of ampelographic confusion, most growers probably thought it was all Merlot. Though some writers will debate that the growers did know the difference and they were designated Merlot and Merlot Chileno, the latter name in reference to Carménère.

This varietal flourished in warm, dry climates like those found in Chile, eastern Washington, California, and China. Of these regions, Chile has the lion’s share of vineyard area. The key was the ability to set fruit, something that was not a given in its native Bordeaux, which is largely a maritime environment. Typical to the Carmenet family of grapes, early harvested grapes from this family are notorious for strong notes of herbaceous, capsicum (bell pepper) aromas from

elevated methoxypyrazine levels. As the fruit hangs longer, these flavors morph to red berry, black pepper, tomato, and, when the berries are perfectly ripe, blackberry, blueberry, chocolate, coffee, and soy. But at this late stage there is a significant reduction in acidity, which requires adjustment to rebalance the wine. Needless to say, the fruit benefits from longer hang times but the winemaker needs to step in, and where permitted, make appropriate acid adjustments.

So, what is an appropriate acid adjustment? The winemaker must first understand why an acid adjustment is necessary. In the case of Carménère and other varieties that benefit from longer hang times, it has to do with the berry’s main source for carbon. Prior to veraison, the berries use glucose as their main source of carbon for respiration while accumulating malic acid. Ever taken a bite of a green berry before or at veraison? Everyone does once. At veraison, the berry reverses gears and starts to accumulate sugar while now utilizing the malic acid reserves for respiration. These reserves can be depleted significantly, and I have seen little or no malic acid in grape musts at crush. This is why, as winemakers, understanding the pH, acidity, and actual malic acid concentrations in your musts are the key to balanced

It is important to note that varieties that are high in polyphenolics can also show increased bitterness and perceived astringency.

wine. An understanding of when it is best to make these supplements is beyond the scope of this “Varietal Focus” column but suffice to say, Carménère in warmer climates often will need a little work by the winemaker.

It can be a tannic wine, and also of deep red color. Recent research has indicated that it has a different polyphenolic profile than other Carmenet members. A lot of this interest is not just understanding the color and flavor profiles of the grape, but the correlated potential health benefits associated with polyphenolic compounds: Heart health and cancer prevention. Carménère has very high concentrations of anthocyanins, specifically malvidin, flavonols, quercetin, myricetin, and the flavanols; catechin and epicatechin. All of these compounds increase in the berry as a result of indirect sunlight exposure while they undergo extended hang time. To promote indirect sunlight exposure, strategic leaf pulling on the shady side of the canopy is necessary. As Carménère is classified as a vigorous variety, this is also necessary to promote good airflow through the fruiting, which also promotes good penetration of sprays.

It is important to note that varieties that are high in polyphenolics can also show increased bitterness and perceived astringency. So when working with these wines careful processing will moderate the extraction of these compounds into the must. At the destemmer/crusher for example, it’s preferable to have the ability to adjust the rollers so that the berries are just fractured as opposed to rollers that macerate the berry and crush the seed. In the study I reviewed for this piece about half of the tannin measured was seed tannin, which is perceived more bitter than astringent. Seed tannin can be mechanically extracted as previously described or extracted by extended maceration of the must. I recommend pressing at seven to ten days. When pressing, watch your press cuts by tasting as the pressure builds. Keep the press fractions separate to possibly blend back in later. I always say, don’t put any more in that you may have to take away later.

Circling back to that Bordeaux trip

with my wife. Our hosts drove us all around the region, visiting chateau after chateau. At one chateau, the bookkeeper even came out and tasted with us, as he was bored preparing reports for his ownership group. Everyone needs to unwind sometimes.

Meanwhile the city of Bordeaux proper was undergoing a noisy renaissance of sandblasting the dark molds from the stone buildings. Looking at the newly renovated building facades

revealed many old murals hidden by the years. Polly and I enjoyed standing back a little way from the buildings to see it all come together . . . similar to the way the matrix of vineyards and varietals comes together in harmony in Bordeaux and its famed wines. Carménère is one of the many grapes that make this part of France such an amazing wine region. While it may now be better known as a New World grape, its roots are found in Bordeaux.

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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: May 11, 2021

Wines judged: June 11–13, 2021

Results first announced at the WineMaker Magazine Conference in San Luis Obispo, California July 17, 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: May 11, 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.

Photo by Charles A. Parker/Images Plus

Making fruit meads

by Jason Phelps

eads containing fruit are a perpetually hot topic amongst home meadmakers as well as being a huge part of the commercial mead conversation. Taking what we know about making mead from just honey and then adding fruit doesn’t seem to be all that complex of a leap, but I assure you that the adventure of smashing fruit and honey together is way more interesting than just saying, “I made fruit mead!” Making mead with fruit is a creative journey. What fruits and combinations you use, where and when you use them in the process, and what attributes of the fruit you work to express are all creative choices. Unlocking the secrets of all these different choices is the key to being able to mix them up to create your own hits.

As with any adventure, it is best to jump right in!

Ancient Fire

Mead & Cider’s 60% Of The Time

(5 gallons/19 L, bottled under cork)

OG = 1.152

FG = 1.028

ABV = 16%

INGREDIENTS

16 lbs. (7.3 kg) wildflower honey

2.5 gallons (9.5 L) 24 °Brix Black

Muscat grapes

2 Tbsp. pectic enzyme

Water to 5 gallons (19 L)

20 g Lalvin KV1116 yeast

10 g Fermaid-K

2.5 g diammonium phosphate (DAP)

1.67 g potassium metabisulfite

4 g potassium sorbate

STEP BY STEP

Prepare the pectic enzyme by mixing with a small amount of 65 °F (18 °C) tap water. Crush the grapes, mix the pectic enzyme mixture with them and perform a two-hour cold soak prior to pressing off the juice. The grape pomace can be discarded.

Combine grape juice, honey, and water to 5 gallons (19 L).

Re-hydrate and pitch the yeast. Degas and feed nutrients at 24, 48 and 72 hours. Ferment to target final gravity and stabilize with sorbate and metabisulfite. Rack off sediment. Bottle under cork.

TIPS FOR SUCCESS:

The above directions results in an “orange” pyment due to the skins not being part of the ferment. This was a creative choice. Fermenting with the skins will produce a much darker color, but even more of the specific grape character as well.

CREATIVITY ABOUNDS

At Ancient Fire Mead & Cider (where I’m the Owner/Meadmaker) in Manchester, New Hampshire, we produce three different product lines, including draft style meads, draft ciders, and honey wines. We use fruit in a number of different ways in all of these products. We are constantly dreaming up new combinations and innovative ways to layer fruit, honey, and other ingredients to make delicious new beverages.

This adventure is also based on a whole bunch of questions. Here are some I get from meadmakers all the time: What kinds of fruit should I use? Should I combine different fruits? How do I handle and prepare whole fruit? How do I integrate fruit into my process? Are juices and concentrates good to use, and if so, how? Are there specific fruit combinations that work really well together? How about any that don’t? Got any secrets to share?

Let’s take a look at a recipe for an example of using fruit in mead, in this case wine grapes. In the fall of 2018 I acquired Black Muscat grapes from California through Musto Wine Grape Company. We used the grapes to make a 15.5% ABV honey wine named 60% Of The Time (a recipe for a 5-gallon/19-L version of this recipe can be found to the left).

I am a big fan of Muscat grapes, having made wine and mead with them a number of times in the last 15+ years. Despite this, I hadn’t worked with the Black Muscat variant, a dark red grape as opposed to the usual white, pink, or orange-hued grape. Muscat grapes are known for their distinct and pronounced aromatics, and the grapes we got were no slouch in that regard! To balance the expression of the grapes with the honeys we planned to use, wildflower and red bamboo in our case, we decided to perform a short cold soak on the crushed grapes and then press them pre-fermentation. Extraction of color and flavor were the main goals when deciding to perform a cold soak, while also limiting the extraction of tannins. When done at cool temperatures. Prior to the cold soak we introduced pectic enzyme to help break down the fruit for more

effective pressing. The result is an orange wine due the skins not being part of the fermentation. Using the grapes in this way, their juice became a specific part of the volume of the initial must and with a gravity reading we could easily estimate how much of the total fermentable sugar they would introduce.

This was a fairly simple example of using fruit in mead. Let’s now take a look at other techniques and tips.

FORMATS & PROCESSING

Fruit comes in a number of different forms, and all of them have comparable advantages and disadvantages, but from experience there is definitely a format that best fits every project. Depending on what form you plan to use, you will need to identify any processing requirements and include that in your batch planning. You want fresh and ripe fruit. They should not have any rotten or moldy spots, but cosmetic issues or blemishes are not a problem. In some cases buying the ugly pieces gets a price break at farm stands, and sometimes otherwise good fruit ends up on the discount rack at the grocery store. All you need is good timing! Whole fruit is a great format to work with, but depending on what volume you plan on using, the processing might well be much more effort than you want to commit to. Cutting the tops off of strawberries is easy, but it still takes time to get through even 20–30 pounds (9–14 kg) of berries!

Juices and concentrates are another great source, and because they are liquified they don’t need any special processing. They mix together with honey and water very easily. The quality of concentrates and juices vary, and there are sources of cold-pressed concentrates that are high quality and retain the complete expression of the aromas, flavors, and colors of the source fruit. We use a passion fruit concentrate that is borderline puree, but the concentration allows for small amounts to be used to get incredible flavor and texture. You want to avoid juices containing preservatives (sorbate, benzoate, others). Cold-pressed variants that also need to be stored in

Photo by Shutterstock.com

PRO TIP: Use an electric potato peeler to peel citrus quickly and easily, typically with minimal pith!

the refrigerator generally are not affected by processing like pasteurized products can be. You are still looking for as much of the freshness of ripe fruit as you can get!

Citrus is a great example of fruit that can be freshly juiced for fresh inclusion in projects. Remember, if you are juicing your own citrus don’t throw away the peels. The peel is where some of the most important action is, including the dozens of terpenoids, known colloquially as essential oils, that produce the aromas and flavors we associate with citrus. We want the peel and not the white pith — which is quite bitter, especially for limes. Most citrus meads I make include both fresh peel AND juice, something I feel allows for all the desired attributes to make their way into the final product.

Purees are widely available, and those that are in aseptic packaging are a great choice due to their shelf sta-

bility prior to use. I have used purees in my meadmaking, and sometimes still do, but to be honest I don’t prefer the puree format. There is just too much loss involved with most fruit particles that don’t want to settle out into a compact layer at the bottom of a carboy. Small-scale filtration isn’t really a solution here, and most other “neat tricks” involve excess oxidation so I won’t even cover them. One trick I have used successfully is to pour the puree into a large nylon straining bag that will hold the majority of the pulp back, while still imparting flavor and color. This could be done at any point you wished to use the fruit, allowing the majority of the pulp to be removed easily. This isn’t a reason to avoid using purees, but setting some expectations for when you do. There are exceptions — for instance, Amoretti Craft Purees are filtered and super concentrated to avoid the issue of large particles not settling out.

PRO TIP: Take into account the loss of fruit during processing. The loss from processing strawberries can easily be 10-15% of the starting weight, and will be more if the berries are small. This is useful to plan for when purchasing fruit with a particular amount in mind. Buy more to offset the loss.

What else is there? Dried fruits. Think raisins, Zante currants, dates, figs, and dehydrated papaya or apricots. All of these can be used to introduce flavor into mead. When using dried fruit, I recommend chopping them up to increase the surface area for contact with the mead.

ADDING FRUIT TO THE PROCESS

Now that we’ve covered different formats you can source fruit in, we need to cover some considerations for actually applying it to the process of making mead.

When we talked about juices and concentrates, I indicated that having a liquid form was an advantage to getting your must mixed up. This advantage also extends to being able to estimate and immediately measure the gravity of a must. Other forms of fruit have the sugars locked up inside them, making an initial reading of gravity exclusive of their contribution. Juices and concentrates can be measured up front (commercial products will often state the Brix) so that their contribution can be included in a recipe calculation. This also creates ease in calculating their impact during use in backsweetening as well. The same contribution from whole fruit can be estimated, but you’ll need to know the typical percentage sugar that the fruit contains. The USDA publishes this information so that the “stereotype” percent sugar content for many fruits — in whole or processed forms — can be included as a recipe component. This information can be found at: https://fdc.nal.usda.gov

Working with whole fruit or puree will be messy. Fruit wants to break down, and you want it to, but it quickly makes a mess that even cold crashing might not easily solve. I mentioned the use of nylon straining bags as a “trick” with puree, but realistically you are going to create a puree out of whole fruit with maceration, so on a small scale you can use these bags with your fruit chunks to help contain some of the mess. After removing the bags from a ferment or a post-ferment steep I run what’s left through a small fruit press to ensure I get all the liquid. I have scaled this method up a

When working with citrus fruits you can use the peels, which contain dozens of terpenoids (essential oils) that produce desirable aromas and flavors. An electric potato peeler works great for cutting off the outer peel without the white pith beneath, which is bitter and should not be used.

Photo by Michael Tonsmeire

Ancient Fire Mead & Cider’s Leaping Off The Ledge

(5.25–5.5 gallons/20–21 L, keg carbonated)

OG = 1.058

FG = 0.997

FG = 1.010 (after backsweetening)

ABV = 7%

INGREDIENTS

8 lbs. (3.6 kg) orange blossom honey

Water to 5 gallons (19 L)

10 g SafAle US-05 yeast

7.5 g Fermaid-K

2.5 g diammonium phosphate (DAP)

1.67 g potassium metabisulfite

4 g potassium sorbate

1.75 oz. (50 g) Citra® hops

3 lemons, peeled and juiced

12 oz. lemon juice

2 lbs. (0.9 kg) orange blossom honey (for backsweetening)

3 quarts (3 L) water

STEP BY STEP

Mix the initial honey and water (some hot, the rest cold) to 5 gallons (19 L). Re-hydrate and pitch the yeast. Degas and feed nutrients at 24 and 48 hours. Ferment dry and stabilize with sorbate and metabisulfite. Rack off sediment. Add lemon peels, lemon juice, hops, and honey (diluted with water) a few days before packaging. Rack off peels and hops when transferring to keg or bottles.

bit in my commercial operation, but I do want to make it clear, there are limitations to this technique. Moving and pressing larger volumes of fruitladen must using typical winery methods and automated equipment is the next stage.

So, you may be wondering at what point(s) you should use fruit in the meadmaking process. At every point!

The topic of when to use fruit in mead is hotly debated, and just to be clear, there is no correct answer. One’s own experience definitely will identify tricks and tips as well as repeatable outcomes from one technique or another, but there is no objective way to understand how a mead was made from just tasting it. We can produce multiple very similar meads with the fruit having been introduced at different points, and while we might be able to tell that there are differences, it would be luck to consistently associate the mead with the process that created it. For more on the impact fruit will generally have depending on when they are added, refer to Chart 1, found below.

Chart 1: Impact of fruit addition timing

Process Application

Now let’s take a closer look at another recipe I named Leaping Off The Ledge (left), and specifically consider how fruit contact time plays a role as well as how acidity needs to be accounted for.

Contact time, the time the fruit is in contact with a fermenting or a post-ferment product, is going to influence how robust the fruit expression is. The amount of fruit (more on this later) is a huge factor in how much fruit character you can expect, but how long the fruit is applied can be used to moderate or direct the outcome. More importantly, managing the contact time ensures that you don’t get an over-expression of a fruit leading to undesired flavors or aromas.

Citrus peels are back! I only steep lemon peels for a few days when I use them, and I typically apply them in after primary fermentation is complete so I can better judge how much influence they’ve imparted. I check the progress of steeping the peels at 24 hour increments until I’ve reached a point that the flavors are developed

Outcome / Considerations

Fruit added in primary fermentation or included in the fermentation.

The available sugar in the fruit is fermented. Even adding it after the initial ferment will lead to this result. You may also find the color from heavily-pigmented fruits lightens up quite a bit when used this way. The flavor and acidity from the fruit should remain. The aromas should too, but since they are volatile they may also be blown off from an overly vigorous fermentation.

Fruit added in secondary or post-stabilization.

When used this way, the sugar in the fruit is retained, and when taken together with aromas, flavors, and acidity of the fruit results in the most “like the real thing” experience. You can certainly backsweeten fruit meads that have been fermented dry, but the exact composition of the sugars can’t be replicated so it may not taste exactly like the source. The aromas and color are also a lot more stable in this method.

Fruit added during both primary fermentation as well as secondary or post-stabilization.

The result is what you might expect; fermented fruit sugars, but fresh fruit added after the fermentation that brings back the full complement of aromas and flavors, and often bumps the color back to the expected hue and depth.

Photo by Shutterstock.com

Going Big — Fruit Bombs

With fruit meads being all the rage right now, the topic of how much fruit you can stuff into a mead is also popular. A mead with an overwhelming amount of fruit is affectionately called a “fruit bomb.” So, what exactly does this mean?

This practice can simply be understood as drastically increasing the amount of fruit, to 6, 8, 10+ pounds per finished gallon (0.7–1.2+ kg/L), and either foregoing any water or using only enough to liquify the honey and mix it with the fruit. With any “extreme” technique there are inevitably challenges and/or considerations. Jamming a massive amount of fruit into a fermentation definitely brings the volume question into consideration. How big exactly is that fermenter you plan to use?

You will also need the ability to pump or “move” that must to a press basket and press out the liquid. Fruit not only takes up quite a bit of volume, but until you get the water freed from it, it is also heavy. Water alone is 8 lbs./ gallon (1 kg/L), so it doesn’t take much imagination to understand what can happen next.

Depending on the fruit(s) being used you need to consider how much acidity is going to be contributed by the fruit. For meadmaking, just like winemaking, the pH during fermentation is optimally 3.2 to 3.6, with honey also having enough acid that when mixed together you may find a lower than expected pH. You can buffer this with potassium bicarbonate to help bring the pH up during the fermentation, but the outcome of the ferment will drive the pH slightly lower, so being at or below the bottom of the range at the beginning likely means you will be right back there post-ferment. You may or may not find you wish to adjust the residual sugar to balance the impression of excess acid.

Many fruits also have lots of tannin in them — think blackberries or black currants — and the more of it that sticks around the more it factors in the ultimate balance you have to consider. The presence of wood and fruit tannins can be a huge boost to the complexity of a fruit mead. Aging is an asset in helping the tannins soften and mellow, much like excess alcohol.

Balance is a popular word in the sensory world of wine. When I first began making wine in 2004 I was also learning to appreciate different styles from all over the world. I was naturally curious, but I also knew this education would inform my home winemaking projects. Balance came up a lot, and I gravitated towards a more harmonious view of balance. All the parts needed to fit together in a tight little package just so. Over time as my education has continued I’ve met many more wine, mead, and cidermakers who use contrast and even boldness of individual ingredients in less “harmonious” ways to create really interesting outcomes.

Fruit bomb meads push the fruit forward — all of it. The flavors, acidity, tannins, colors, it all gets magnified. The components should still feel like they belong there but can be forward and even sometimes angular or perpendicular to the other remaining pieces. The outcome still has to taste good, but highlighting something by bringing it very forward has been fun to experiment with. The creativity of the choices adds a lot of potential projects to the meadmaking calendar!

Ancient Fire Mead & Cider’s Granola Bar!

(5 gallons/19 L, bottled under cork)

OG = 1.131

FG = 1.020

ABV = 14.5%

INGREDIENTS

18 lbs. (8.2 kg) buckwheat honey

Water to 5 gallons (19 L)

20 g Lalvin 71B-1122 yeast

10 g Fermaid-K

2.5 g diammonium phosphate (DAP)

1.67 g potassium metabisulfite

4 g potassium sorbate

2.5 lbs. (1.1 kg) dried zante currants/corinthian raisins

STEP BY STEP

Mix the initial honey and water (some hot, the rest cold) to 5 gallons (19 L). Re-hydrate and pitch the yeast. Degas and feed nutrients at 24, 48 and 72 hours. Ferment to target final gravity and stabilize with sorbate and metabisulfite. Rack off sediment. Add Zante currants and/or raisins and steep to taste (this will take weeks, in my experience). Rack off currants/raisins prior to bottling (or pull the bag of them if you added in bagged). Bottle under cork.

to the effect I am looking for. This is done to taste, and ultimately training your senses to be able to choose your own “sweet spot” for ingredients you plan to use is another of the exciting experiences on this journey. You can easily steep citrus peels for too long. A bitterness can quickly develop from the pith, and the more pith that makes its way into the steep the more quickly this undesired outcome will evolve. Lime peels get here very quickly, and this is one of the reasons why I don’t typically use them in favor of lime juice.

Leaping Off The Ledge is a product that was in our starting lineup in 2018 and has elicited some of the most interesting responses to any of our products. Using a base of orange blossom honey we add fresh lemon peels, lemon juice, and hops to flavor the mead. The outcome is pretty much dry hopped lemonade. Fans have said it tastes like summer. The hops also need contact time monitoring, so for this mead that topic is extremely important in the finishing steps because you have two ingredients that absolutely can be in contact with mead too long, leaving behind more than you hoped for.

LAYERING

One of the most exciting aspects to using fruit (as well as spices, hops, etc.) to make mead is layering the ingredients to create interesting outcomes. I love citrus with berries. Strawberry and lemon or blackberry and lime are two specific combinations that really sing. I’d use orange blossom honey with the strawberry and lemon concept, but might use wildflower or raspberry blossom honey with the blackberry and lime idea. Why? The harmony of these different combinations is created by how the differences in each ingredient play with or off of each other. The citrus-laden honey is very complementary to strawberries and lemon, with some of the total citrus expression coming from the honey. Blackberries are a more robust berry and using a honey that has a richer, fruitier character that can stand up to the berries better ensures the honey doesn’t get lost.

You get to choose how your layers interact. Want to create a street fight? Then put together lots of bold ingredients like blackberries, vanilla, maple syrup, and cinnamon. Want to appreciate the subtlety of an ingredient like elderflower? Don’t overpower it with other strong flavors. Try a fruit like pear and a honey that exudes delicate floral notes like an early season wildflower.

The recipe for Granola Bar! (to the left) layers dried fruit on top of very characterful honey (buckwheat) to create big flavors and big enjoyment!

KEEP THE ADVENTURE ALIVE

Whether it is boldly overstuffing your meads with blueberries and black currants, trying to tease the most beautiful subtlety out of a small amount of backyard berries, or layering several fruits together to create something new, the possibilities are limitless.

One of the first things I do when I get a new-to-me honey to work with is taste it and start imagining all the possibilities. Fruit is almost always the first thought. Your adventure continues here!

Photo by Shutterstock.com

After removing the fruit, press the remaining juices to be added to the mead.

Photo by Jason Phelps

2021

WINNERS

It’s been said for ages — making wine is a balance of science and art. Today, however, we’re going to focus on art. That is, the art that wraps our precious bottles of wine.

Home winemakers were able to pick up new hobbies as they found themselves with additional downtime at home in 2020 due to the coronavirus pandemic. And, if the number of entries WineMaker received in our annual label contest (particularly from first-time entrants) was any indication, saying that many chose to start designing labels to decorate the bottles of their homemade wines is not an exaggeration. The staff at WineMaker gathered from the safe distance of their remote offices for online voting this year and after some friendly debate came up with our favorite labels of 2021. We hope you enjoy viewing the winning labels as much as we did in selecting them. If you didn’t receive a prize this year, just keep in mind that there are only 12 months left to design the next great label!

We want to give a big thank you to our sponsors who help keep this annual competition going. Lastly, thank you to the home winemakers who continue to impress us with their abilities year after year.

Grand

Joseph Sargetakis

Salt Lake City, Utah

Our Grand Champion wine label is truly a family affair. Joseph said his 2019 estate Sauvignon Blanc label is original artwork created by his daughter-in-law based on a concept created by his wife. “It has personal (significance) as my wife collects frogs and I collect shells. Frog Bench Farms is our urban farm,” Joseph said.

PRIZES

Gift card from Bader Beer & Wine Supply; RJS Craft Winemaking En Primeur Winery Series Italian Super Tuscan wine kit from BSG HandCraft; Full range of Red Star yeast sachets, tin tacker sign, and wine swag from Fermentis by Lesaffre; Gift card from GrogTag; Gift card from High Gravity; Yeast coupons from White Labs

Gold

Fabiola Granados

Mexico City, Mexico

PRIZES

Fabiola sent us four labels that all were worthy of medals like this one designed for the company he works for in San Martín, Querétaro, Mexico mines. This label was designed as part of a corporate gift given to each employee. “The design contains elements related to mining highlighted with touches of gold, emphasizing one of the main minerals that is extracted,” Fabiola said. “The label will be put on bottles of wine from the same region; it should be noted that the state of Querétaro is one of the main wine producers in Mexico.”

Jeff and Becky Nohava Bozeman, Montana

A visual play on the dandelions used to make the wine inside this bottle wowed judges for this dandelion wine label. “I bought an SVG (scalable vector graphic) of the lion with the leaves all in black in white. I proceeded to color and include the other elements of the label using a free SVG editor,” Becky told us.

Cathy Baur

Valley Center, California

This label decorated the first vintage from Baur Vineyard, a passion, hobby, and labor of love for Scott and Cathy Baur. The mandala repeats the initials of their first names and symbolizes that life is never-ending and everything is connected. “The circle symbolizes both, new beginnings and a state of completion - something important to me and my husband as we start this new adventure,” Cathy said.

PRIZES

Gift card from Bader Beer & Wine Supply; RJS Craft Winemaking Cru Select French Merlot wine kit from BSG HandCraft; Gift card from GrogTag; Yeast coupons from White Labs

PRIZES

Gift card from GrogTag; Gift card from Keystone Homebrew Supply; Gift card from Noontime Labels; Yeast coupons from White Labs

Gift card from Bader Beer & Wine Supply; RJS Craft Winemaking Cru Select Italian Pinot Grigio wine kit from BSG HandCraft; Gift card from GrogTag

Hyalite CanyonGrown Dandelions Bozeman, MT

Reader’s Choice

Frank & Karen Allen

Mission Viejo, California

The Bearing Fruit Vineyard label received the most votes on social media to win this year’s Reader’s Choice Label. The illustration shows the three-acre vineyard that produces fruit for local wineries in the Ramona Valley of California.

Honorable Mention

PRIZES

DG Cheney Belgrade, Montana

Kim DeMott Tucson, Arizona

Andrea Fazio-DiVecchio Shorewood, Illinois

Barb Hennelly Fair Oaks, California

Karen Clark Mission Viejo, California

David Noone San Ysidro, California

PRIZES

RJS Craft Winemaking En Primeur Winery Series Chilean Chardonnay wine kit from BSG HandCraft; Gift card from GrogTag

Gift card from GrogTag

Lorenzo Loggia and Andre Perron Montreal, Québec

Mike and Sharon Orton Lincoln, California

Gail Sacharczuk Holland, Pennsylvania

Laura Stearn Temecula, California

Penny Walker San Diego, California

Angela Volzke Sioux Falls, South Dakota

Christy Raines Scottsville, Kentucky

John Reeve Rancho Murieta, California

Chad Mitchell Dauphin, Pennsylvania

Melissa Moseley Los Olivos, California

Editor’s Choice

Bruce Van Houten Alto, Michigan

Brian Tedsen Orcutt, California

Dito Diez Temecula, California

Mike Little Eagan, Minnesota

Dan Dawson Ashland, Oregon

Barbara Bentley Walnut Creek, California

Larry Carducci Auburn, California

Jim D’Amico Mt. Hamilton, California

Master The Classics!

25 Classic Wine Styles

Tips, techniques, and recipes from WineMaker’s “Varietal Focus” columnist Chik Brenneman to make your own wine from 25 classic grapes

This 80-page special issue is a must-own reference for anyone looking to master the classic wine styles Available in print or as an immediate digital download

by Dominick Profaci

Photo by Shutterstock.com

this discussion. Let’s say a big batch is anything larger than a 6-gallon (23-L) carboy of wine. Many home winemakers begin their journey in the winemaking hobby by trying their hand at 6-gallon (23-L) and sometimes even 1-gallon (4-L) batches. Some winemakers find these relatively smaller sizes perfect for them, but others start considering larger batches after achieving some success with these sizes. This is often driven by a variation of the concept of supply and demand.

A 6-gallon (23-L) batch of wine equates to 30 bottles (750 mL). Let’s say it is a Cabernet Sauvignon that you and your friends and family are enamored with. You have a party at your home (after the pandemic is over) and you quickly go through nearly a case. Some of those party guests loved it so much that they ask if you might share a bottle for them to take home. By the end of this event you may be left with just a case. This wonderful wine that you spent a number of months (hopefully much longer, a very different topic) shepherding is now nearly gone. You have also heard and been told by other winemakers that you may want to put some bottles aside to let them age, as wine evolves and can dramatically improve with age. You were planning to do that, but now you have nearly nothing left to enjoy in the short term. Time to make another batch. At this point you may start considering making multiple batches or maybe even looking at making a much larger one.

I don’t suggest new winemakers jump right in to large batches. In fact, I highly recommend kits to start. Winemaking embodies a good level of biology and chemistry that is necessary to understand in order to consistently make a quality wine that you and your friends and family would enjoy to drink. By starting off with a kit, the chemistry balance of the wine has already been worked out for the winemaker. The step-by-step instructions are provided, along with most of the necessary components,

to start on the right track to making a great wine at home. The only additional components necessary would be a basic winemaking equipment kit. After successfully fermenting a couple of wines from kits, along with some study on the basics of winemaking, the home winemaker can gain confidence to then delve into winemaking that takes a bit more intervention to ensure a successful outcome. This is the case when you consider making wine from fresh juice or fresh grapes.

My first experience with winemaking is quite different. A number of years ago I received an impromptu call from my father-in-law who asked if I could help him harvest grapes from a local home grower. To be honest, at that time I had no real interest in winemaking and only had an occasional glass of wine for a special occasion. To help him out, I went along and harvested many buckets of Concord and Niagara grapes. In the end, my father-in-law overestimated how many buckets of grapes he needed to fill the one wine barrel he was intending to fill. He ended up with about 30 gallons (114 L) of extra juice, which he offered to me. I felt bad to let it go to waste and I agreed to take it. Luckily there happened to be a home winemaking shop in town and I ran over there and came home with a couple of 15-gallon (57-L) demijohns. I had no idea what I was doing, so I ended up calling the gentleman who we purchased the grapes from (as I liked the taste of his wine that he shared with us while we were harvesting) and asked him his process in making wine. Well, I followed his instructions blindly and luckily after a few weeks I ended up with a somewhat palatable wine; albeit very sweet.

From this point my interest in winemaking blossomed. I starting reading everything I could find on the topic of winemaking. I was hooked. After a few more years of making batches of Concord wine from the local gentleman’s vineyard, I then developed an interest in growing my own grapes. My home vineyard has grown to over 200 vines. In a good year, my vineyard can produce upwards of a ton of quality grapes; lend-

ing itself to big batch winemaking.

BENEFITS OF BIGGER BATCHES

In addition to the fact that you will have more wine from a single batch, as outlined in the example in the beginning of this article, there are other benefits of making wine in larger batch sizes. One of the most significant for many is workload. Believe it or not, there can be much less work associated with larger batches than a number of 6-gallon (23-L) batches. Each of those 6-gallon (23-L) batches is its own micro-environment that needs to be monitored and shepherded to a final product. Each will need individualized testing and potentially different treatment to achieve what you are after as a winemaker.

Additionally, wine stability increases with the size of the batch. What does that mean? Well the larger the volume is the more it will take, both environmentally and through winemaker intervention, to impart a change in that wine. How many times have you heard the story of a home winemaker adding something in their winemaking process that they mistakenly over calculated and ruined their small batch of wine? In a larger batch, you’d be more apt to double check yourself and say “wow that sounds like too much.”

Now we’ve touched on a bit why you may want to consider making larger batches of wine. How do you do that? Well, you could buy multiple kits and make a single batch out of them. Nothing wrong with that approach. Other options are to buy fresh juice and/or grapes in season. Remember, these will take more understanding and interaction by the winemaker. This additional interaction is, however, what can make a wine truly yours and a representation of the specific style you may be after. It becomes a true artisan crafted beverage. Hopefully one that you can be proud of.

DIFFERENCES IN EQUIPMENT

Let’s touch on some of the general differences in equipment that may be necessary to move to big batch winemaking. There are many choices and options for the home winemak-

irstly let me define what I mean by “big batch” for

er today when looking to increase their batch sizes. These options will vary based on your individual plans, on the types and styles of wines you are planning to make, and what “raw material” you plan on starting with. For example, if you just plan on making larger batches from multiple kits or fresh juice then your equipment needs will be somewhat different than if your plan is to make wine from fresh grapes. Once you have made the decision to make wine from fresh fruit, we start to see the need for equipment like crusher/destemmers, large fermentation tanks, and presses. These pieces of equipment are not typically needed when starting with juice. Keep this in mind as you start ramping up production.

Crusher/Destemmer

Fresh grapes will need to be processed upon receipt. Most times (this will vary by the winemaker’s technique and style of wine they are after) the grape should be removed from the stems and crushed. Stems can add excess bitter tannins and herbaceous notes to a wine during fermentation, especially if the stems are still

somewhat green and not lignified. Lignification is part of the process of maturation of this year’s grapevine. You will notice that the flexible green stems of the grapes will start to turn brown and woody. You will also notice this change on the grape shoots as well. These shoots are from where next year’s harvest has already been predetermined. Lignification is also known as hardening and is very important for the grapevine’s winter dormancy, as it builds stores of carbohydrates. By crushing the grapes the juice is more easily released and the skin is more easily accessible to the yeast during fermentation. For red wines, this can aide extraction of color, flavor, aromas, and tannins in the wine. For white grapes, along with the same concerns with the stems, crushing can enhance juice yield during pressing. It’s just easier to press a grape that has already been broken than one that is still solid. We’ll touch on presses in a bit.

Crusher/destemmers are readily available to the home winemaker in a number of options. For those that don’t plan on processing more than 1,000 pounds (450 kg) of grapes a

season, hand crank models are available. Just make sure to have plenty of last year’s wine available as a thank you to whoever gets the job of turning that crank! When you start processing over 1,000 pounds (450 kg) of grapes in a season, you may want to consider an upgrade to a motorized version.

These units are also available in either a powder-coated painted finish, stainless steel, or a combination of the two. Stainless steel has the potential of a much longer longevity than the painted options. I will say, however, like any other piece of equipment, it is all about how that equipment is used and maintained. I have a painted unit that I have had for many years and has processed lots of grapes. To date, not a single paint chip has occurred.

Fermentation Tanks

When processing grapes, fermentation tanks are typically large, opentopped food-grade plastic vats. Do not fill these more than 75% prior to the onset of fermentation so there is room for the cap and expansion due to carbon dioxide production during fermentation. This also allows for ease

The two common press options for hobbyists are bladder (left) and basket (right) presses. Both will get the job of extracting juice from grapes done.

Photos by Dominick Profaci

in punch downs of the grape skin cap, minimizing splashing out of the vat and onto the winemaker. Been there, done that!

If starting with juice, depending on wine and style, you could ferment in stainless steel variable capacity or fixed capacity tanks, food-grade plastic tanks, or barrels. For these fermentations the tanks should be closed to minimize air contact and an airlock added. These tanks should also not be filled completely to allow for expansion and foaming based on carbon dioxide production during fermentation.

Presses

Presses come in a couple of forms for the home winemaker. One type is the ratchet/basket press. This type provides a slotted oak wood basket that comes in varying sizes depending on how many grapes you may typically process. The basket is filled with the grapes (prior to or after fermentation; again based on grape variety and style of wine being made). Wood blocks are added above the grapes and then pressure is applied via a ratcheted screw or hydraulic press (manual or electric) compressing the wood blocks on the grapes. The pressed juice/wine seeps between the wooden slats and is collected in a bucket where it can be transferred to the next stage of the process.

The size basket press to be used should be based on your typical batch size. If you are normally pressing fermented or even just crushed grapes to make batches of 6–12 gallons (23–46 L) then a size 30 press should give plenty of flexibility. If your batches are more of a 30–60 gallons (114–227 L) wine volume then a size 45 or even a 55 may be more appropriate. I should note that you can process smaller batches in a larger press but you will lose some efficiency and you may have to add additional wood blocks to reach your pressings.

The second type of press is a bladder press. In this type of press there is typically a stainless steel basket (although there are oak basket versions of these) with small perforations in it that is again filled with the grapes

as well as a rubber bladder inside the basket. Once the press is filled with grapes a cover is bolted down to seal the basket. A garden hose is attached to the unit and water fills the bladder to apply pressure outwardly against the grapes towards the basket wall.

The size bladder press to be used, just like the basket press, should be based on your typical batch size. A 40-L press should give plenty of flexibility if you are making batches of 6–12 gallons (23–46 L) if you are typically pressing fermented or crushed grapes. Batches of 30–60 gallons (114–227 L) will make a 90-liter or even a 120-liter bladder press more appropriate. You can process smaller batches in a larger bladder press but you will need to estimate and prefill the bladder with water to ensure the height of the press is filled with must to ensure even pressing.

The process is very similar with both press options. The bladder press, due to the more evenly distributed pressure, is, however, more efficient. It is also a bit less work as you are allowing water pressure to do the work versus your own muscles, in the case of a ratchet press.

Pumps

In my home winery I have tried to make use of gravity as much as possible. By setting tankage at higher elevations, when it comes time for racking, tank transfers, and even bot-

tling it can make things so much easier. What I came to find, however, was that utilizing a pump became a major time and back saver as my batch sizes increased

There are different types of pumps available for the winemaker, depending on what you are trying to move from one place to another. Must pumps are centrifugal impeller pumps that are designed to pass solids like grape must. So if, for instance, you are coming off your crusher/destemmer and you desire to pump that to your fermentation tank, a must pump is the way to go. These pumps, however, can be quite expensive and may be a bit cost-prohibitive for the home winemaker.

If you are just trying to move relatively clean wine and or juice, this can be readily accomplished with a diaphragm pump, flexible impeller pump, or even a vacuum system, based on your setup. I personally utilize a diaphragm pump, which is very well suited for wine transfer. These units are self-priming, which saves time and imparts very little oxygen to the wine during the pumping procedure.

As with any of your winemaking equipment, sanitation is always paramount. Make sure to sanitize all tubing and internal workings of whatever pumping system you use prior to putting your wine through it. I like to use a sanitizing solution of potassium metabisulfite and tartaric acid in all

Pumps are critical when large batch sizes of wine need to be transferred from one container to another.

Photo by Dominick Profaci

my sanitizing operations, but there are many sanitation products available to home winemakers.

Aging Considerations

There are a number of bulk aging options available to the home winemaker depending on style of wine you are trying to achieve. Bulk aging is a very important facet of winemaking in general. Wines should never be rushed to the bottle. It is always tempting to look at and taste a wine and say that it is ready, looking clear and tasting great, to bottle it to find that in a relatively short period of time the wine has dropped sediment or gone hazy in the bottle. Bulk aging gives wine the ability to evolve and stabilize so that when it is finally time to bottle your wine the likelihood of it staying as pristine as when it went into the bottle is greatly increased.

Bulk aging is done in a tank that provides the ability to minimize and/ or exclude air completely. Air entering your tank at an uncontrolled and excessive rate can lead to an oxidized and spoiled wine. Acetobacter can quickly grab hold in an oxygen-rich environment and lead to excessive levels of volatile acidity and turn your wonderful wine to vinegar.

One of the most versatile bulk aging big batch tanks in any home winery is the stainless steel variable capacity tank. Stainless steel is easy to clean and sanitize. Its floating lid assembly provides for great flexibility with varied batch sizes. If the lid, with its gasket, are properly installed and maintained these tanks provide for an airtight environment for your wine to evolve. They are also available in many base sizes so finding one to fit your needs should be easy. In my home winery I have a 26-gallon (100L) and a 53-gallon (200-L) tank. Since I grow my own grapes and crop levels can vary, I find them indispensable.

Food-grade plastic tanks are another option. These also come in many shapes and sizes to accommodate your winemaking needs. Most of these tanks available on the market are designed to completely exclude air, much like the stainless steel tanks just described. One manufacturer,

FlexTank, has fabricated a food-grade plastic tank that is designed to allow a minute amount of air through the tank walls into your wine. Why would anyone want this? While you want to avoid large and uncontrolled air intrusion of your wine at this stage, minute and controlled air application (micro-oxygenation) can actually improve red wines. This is one of the major benefits of barrel aging wine, and the FlexTank is designed to emulate the workings of a 2-yearold barrel. I have two 15-gallon (57-L) ECO fixed volume FlexTanks as well as two 50-gallon (189-L) variable capacity FlexTanks of my own design. I find these also to be indispensable in my big batch winemaking.

The oak barrel, by far, has the longest history and use in bulk aging and storage of wines. This is predominantly true for red wines, but is used for some whites too, most notably Chardonnay. Oak barrels are available in a myriad of sizes and oak types. Be it French, American, or Hungarian oak, along with a number of toasting options, the flavor and aroma profiles that can be achieved are numerous, to say the least. Along with oak flavors and aromas, benefits from oak aging include added tannins that assist in locking in color and can enhance the mouthfeel of your wine. The other “magic” component that barrels bring to wine during the bulk aging process is known as micro-oxygenation. A minute amount of oxygen is allowed to enter the wine controlled through the stave pores. This oxygen helps the wine to slowly evolve and mellow by allowing long chain tannins to develop.

I have and continue to use barrels in my home winemaking operations. Personally, I find them more novel than indispensable. Along with sanitation concerns, one of the biggest concerns I have with barrels for long-term storage is the regular loss of wine that is know as the “angel’s share,” which comes from the evaporation of wine through the staves to the atmosphere. This will vary based on the humidity level of where the barrel is stored. In order to minimize oxidation and potential spoilage, that

wine must be replaced regularly in the barrel through a process know as topping up. If aging your wine for a year or two in barrel, this can add up to quite a bit of topping wine. The topping wine is hopefully wine that you reserved from the same batch for this purpose. Topping with a similar wine would be the next best option. The topping wine can greatly influence the final wine you end up with.

Filtration

Filtration is a great tool to have in the winery whether or not you are making big batches. However, when investing in the costs associated with bigger batches, it makes the need for filtration larger. In the world of food and drink, we taste with our eyes first. To many wine drinkers, a glass of cloudy wine illustrates that there may be a problem with the wine and/or that the winemaker didn’t take the time or have the knowledge to produce a quality product.

Filtration can be provided in two forms. There is nominal and absolute filtration. Nominal filtration is when a filter is rated for an approximate level of removal but some small amount of larger particles than what it is rated for can pass through the filter. Absolute filtration, on the other hand, is a filter that 100% of any particle that the filter is rated for or larger will be removed. Absolute filtration is regularly used in commercial winemaking operations to ensure the stability of a wine prior to bottling and release to the market. Due to its very high cost, absolute filtration is not readily available to the home winemaker.

Canister and plate and frame filter types are commonly used by home winemakers. Each works very well and it comes down to preference and setup that you might employ. I personally have used plate and frame style filters for many vintages. I find them versatile and relatively inexpensive to use. Filter pads at varied nominal filtration sizes are available to tune in what you are trying to achieve. The key is to always start with the clearest and most stable wine you can achieve prior to filtration. This can be done with fining agents and/or time. Al-

ways start with a slightly more coarse pad first. Then filter again with the finer pad. This will greatly reduce leaking and potential frustration. You will be amazed at the level of brilliance that can be achieved in your wine through filtering.

Bottling

Once you get to the point of creating larger batches of wine a bottling wand becomes a tool of the past. It is time to think about other types of bottling systems that are designed to handle larger volumes of wine more efficiently. In my home winery I have installed a three-spout gravity bottle filler station. I utilize the pump that is provided on my Buon Vino SuperJet to not only filter my wine but to transfer it to the head tank that feeds the gravity filler. Once you get everything set up, I have found this to be a quick and efficient method of bottling large batches of wine.

Other common options are the Enolmatic vacuum bottle filler on up to the XpressFill bottling units. Although I don’t have any experience with either, I know a number of home winemakers that find them very efficient and easy to use.

Part of the bottling process is corking the bottles. There are handheld, tabletop, and floor based models readily available for the home winemaker. When you start making big batches, I’d highly recommend investing in a quality floor corker. These make the process nearly effortless and provide more flexibility in what cork type you plan to use.

A NOTE ON TESTING

In all winemaking, whether making small or large batches, testing is paramount in order to regularly achieve quality wines. As I mentioned earlier on in our discussion, big batches versus many smaller ones, does help in reducing the workload associated with testing. Of course, depending on what winemaker you talk to you will get different opinions on what testing is necessary. So here goes my opinion.

No matter how much wine you make, invest in a quality pH meter. This one measurement can tell you so

much about your wine and its needs. It can give you an indication about initial adjustments that are needed for your must, what level of sulfites are needed to maintain the stability of your wine and prevent spoilage, and can give an indication of the progress of the malolactic fermentation process; just to name a few. Beyond that, parameters like titratable acidity, free sulfur dioxide, total sulfur dioxide, Brix, and dissolved oxygen are all important to truly understand your wine. Granted, the equipment necessary to test and monitor these parameters can be expensive. You should look at it as a long-term investment in achieving the best quality wines you can, but again, if you are making large batches of wine it is even more important to ensure that nothing goes wrong because you didn’t measure.

The one thing I would caution against is relying on color-based test strips. Although relatively inexpensive, the results from these are difficult to assess (based on slight differences in color shades) and, in my experience, suspect. If a test is not going to provide accurate and reproducible results then that test can ac-

tually do more harm than good in your winemaking decisions.

I’d also warn against over-intervening. Wine is constantly changing. It is either evolving or devolving. We all have experienced when we taste a wine today and then taste the same batch of wine a week, month, or year later how different it tastes. Use testing to track the progress of your wine and only make adjustments to protect that wine from getting too far off course. Wine, especially in large batches, has a great propensity for getting itself back to a “happy place.”

Welcome to the world of big batch winemaking! You know what, it really isn’t much different than making smaller batches. The reality is it can just embody more and larger equipment that are really designed to save you time and effort. Larger batches in the end will be easier to work with, due to their inherent stability, and reduce your overall workload in the winery. Big batch winemaking will also provide you with more of your wonderful craft to share with friends and family, drink yourself, and allow to bottle age and continue to develop over time.

Photo by Dominick Profaci

Bottling wands become a thing of the past when making big batches that result in many cases of wine. I use a three-spout gravity bottle filler, but there are other options that will make bottling a breeze.

Creating a winery in the garage

After years of making wine in various locations throughout my house out of necessity and lack of a dedicated space, I recently had to evaluate my process. For years I fermented grapes in my garage, stored my bulk wine in a crawl space underneath my house (pumped in and out), and bottled it in the kitchen (again transferred via pumped). Also, my winemaking equipment and carboys were scattered about. I knew that I had to centralize the process.

Luckily, I have a large garage, which I knew could house my home winery. My objective was to make one stall into a winery and use a common cooling system for both the winery and wine cellar. I decided to turn the stall on the far end of the garage with two exterior walls and a singlewide garage door into my new winery.

My wine cellar was not fancy and neither would be the winery, but it had to be functional. The winery had to be separated from the garage to keep it clean. Importantly, it had to be relatively easy to build, low-cost, sufficiently insulated, include lots of storage for equipment and bulk wine, include a place for a wine lab, and be temperature-controlled. Now that I’ve completed the project, I realize there are likely other winemakers who face the same burden I used to of having multiple winemaking areas for different stages of the process. Whether you have a stall in your garage available, or another space, I believe many home winemakers may be able to glean some useful information for their own project based on the work I did.

story and photos by Richard Hector

CHOOSING THE INSULATION

A wine cellar should be insulated between R16 and R25, but my winery is a place for making wine, wintertime bulk storage, bottling, and lab work. My design uses 4x8 flat sheet, rigid insulation foam boards. Expanded polystyrene (EPS) foam board (white) provides about R4 per inch (2.5 cm) while polyisocyanurate (Polyiso) foam board (grey or yellow) provides about R6 per inch (2.5 cm). Generally speaking, the higher the R-value, the more expensive the foam board. One layer of 2-inch (5-cm) white, foil covered, foam board would provide about R8 and since I wanted to control temperature in the 50–75 °F (10–21 °C) range, it would be good enough in southern Oregon. If it was for summertime cold storage, then two layers of 2-inch (5-cm) grey/yellow foil-covered, foam board (R24) might be needed, so consider how you will use your own space when making this decision.

PLANNING FOR THE WINERY

My planning started with deciding where the walls and door would be. Using construction metal studs/ tracks would not work as studs for foam boards. My plan was simple: Have the local sheet metal shop fabricate sheet-metal tracks, 2-inch (5-cm) wide and 2-inch (5-cm) high on each side. Since the height of my garage is about 9.5 feet (2.9 m) high, I ordered 10-foot (3-m) long tracks. The tracks would fit together with a 45-degree miter if it was a corner and a square cut if it was a T. Also, wherever two foam-boards met one another, it would take two tracks, fitted together back-to-back (as shown in the images above).

Now for the hard part: How many tracks did I need? I wanted to order the correct amount and not return several times. I had to draw out each wall on paper. If you were to have two layers of foam board, you might want to stagger the joints, so some tracks could be 4 feet (1.2 m) while others would need to be 2 feet (0.6 m) wide. Staggered or not, all joints should be taped with HVAC aluminum foil tape, and backto-back tracks are screwed together.

Before construction I had to evaluate the electrical needs: For heating and cooling and for winemaking equipment. A licensed electrician may be needed. Depending on the design, wiring the electrical might be the first step.

WORKING AROUND GARAGE DOOR RAILS

My winery walls go from floor to ceiling, however, if the garage stall you choose has a double-wide garage door, then the winery walls would need to stay underneath the garage door rails and the design would include a ceiling. Because everyone’s

garage situation is unique, the following DIY description is kept somewhat generalized.

In my situation, the plan had at least two walls and a door. The first wall would extend from the exterior wall to just past the second overhead garage door rail. The rails are about 8.5 feet (2.6 m) above the floor, so a full height sheet would fit underneath the rail. If the rails had been less than 8 feet (2.4 m) above the floor, then I would have planned to cut the foam board to fit underneath the rails (more on this later). Another option would be to remove the rails, but that would require the garage door to be

Elevation Sketch of First Wall

Sheet metal tracks were fabricated to hold the foam board insulation, which wrap around the winery.

fixed in place. In any case, a partial foam board would be needed to reach the ceiling. The sketch of the first wall on page 50 shows each track for my situation.

INCLUDING A BUMP-OUT AND LOCATING ENTRY DOOR

The remaining walls would run alongside the garage door rail. In my garage, I wanted an 8-foot (2.4-m) long workbench to fit against this wall, so the wall would bump out the width of the bench beyond the 8-foot (2.4m) point. The bump-out would also provide rigidity to the wall and be the location of the entry door. To add to the rigidity on both sides of the entry door, the doorposts were 6 inches (15 cm) wide (requiring three layers of foam board). Beyond the entry door, the wall would extend to the exterior wall.

CONSTRUCTING THE FIRST WALL

With the tracks in hand from the sheet metal shop, I started the installation of the first wall about 18 inches (46 cm) in front of the garage door. The wall extended from the exterior wall past the overhead garage door rails, or about 11.5 feet (3.5 m) wide. Since the concrete stem wall was not flush with the sheetrock, the track was cut into two sections: The bottom section against the concrete wall and the top section against the sheetrock. Keeping the tracks plumb, I attached them to the walls using anchor screws (two for concrete and three for sheetrock). Both sections of the track were cut at a 45-degree miter on one end to connect, which was later connected to the tracks at the floor and at the ceiling. I used a power miter saw with a blade for metal to make my cuts.

Then the floor and ceiling were marked for the next tracks, keeping the wall square with the exterior wall. Again, two tracks were cut at a 45-degree miter on one end and installed on the floor and the ceiling using anchor screws. Since the wall was longer than 10 feet (3 m), two short sections were cut with a miter as they would connect to a corner post. Similarly, these were installed with anchor screws.

A major construction difference between this and a normal house wall is that the walls are filled in with foam board as you install the tracks. Although the tracks are like studs in a house, once all the tracks are in place, the foam board cannot be squeezed in — it must be installed as you install tracks on two or three sides.

I installed the first section of foam board with the foil side facing out. If you have a concrete stem wall like mine, notch the foam board accordingly. A utility knife that extends out 2 inches (5 cm) works well to cut the foam. I slid the first foam board into the floor track and into the wall track. On the topside of the foam board I placed a horizontal track. With tracks on three sides, I cut to length two tracks for the fourth (vertical) side of the foam board. One track was inserted into the first foam board and then using three sheet metal screws I connected the two tracks together (back-to-back). I continued this process until the wall reached the corner and I slid in the final foam board. A final floor-to-ceiling track, cut with 45-degree miter on both ends, served as one-half of a corner post.

Now, the reason why I kept the foam board underneath the rails. With the garage door closed, I filled in the top section, working around the garage door rails. I kept the section between the two rails as an intact 8-foot (2.4-m) section that I can easily remove if I need to open the garage door (shown in the illustration on page 50). The remainder of the open spaces were filled in with smaller sections.

CONSTRUCTING THE REMAINING WALLS

With the first wall complete, the winery turned the corner with a new wall and installation of track as the other half of the corner post. With three sheet metal screws, I attached a track, with 45-degree miter cuts on both ends, to the side of the previous wall’s corner post. Again, I planned out this wall by marking the floor and ceiling, keeping it square to the previous wall and the exterior wall. Because the first 8-foot (2.4-m) wall left space for a workbench, the wall bumped out the

width of the workbench. This meant inserting a short wall (25 inches/64 cm wide) with an inside corner and then an outside corner.

INSTALLING ENTRY DOOR FRAME

With the insulated walls installed, the next step was the insertion of the left-hand post for the man-door. For rigidity sake, I used one 4-foot (1.2m) track and several 6-foot (1.8-m) tracks for this post, thus it required three pieces of foam board, 2 inches (5 cm) wide each.

Measure the door dimensions before installing the next section. My pre-hung door had a threshold (doorsill) that needed to be removed to allow dollies to move carboys and other large equipment through the passageway. Additionally, the righthand casing had to be shortened slightly because of a sloping floor.

Once completed, the wall returns to 2-foot (0.6-m) tracks. Very importantly, since the foam board slides into the tracks, the final section of foam board overlaps the previous section. After all the walls are completed, the entry door is installed.

COVERING THE WINDOW AND TRACK JOINTS

The window in the winery was tightly fitted with foam board, blocking out light and transfer of heat. All holes, particularly around the rail, are filled with insulation. Most all joints are covered with aluminum foil HVAC tape, with the exception of the top section of the first wall between the rails, thus allowing its easy removal and the garage door to be opened.

ADDING A LAB BENCH AND SINK

An old workbench was painted and a pre-fab countertop covers the top to provide a nice cleanable surface for wine lab work or bottling. A heavyduty extension cord connects to an easily accessible power outlet at the front of the workbench.

Underneath the workbench are two rows of shelves to allow storage of equipment and chemicals. Small cardboard boxes or clear plastic bins help organize chemicals and equipment. Opposite the workbench a

heavy-duty storage rack provides a place to store carboys, dollies, and other miscellaneous items.

A sink next to the workbench is attached to the wall using Velcro sticky-back tape. I didn’t have water access in the garage and didn’t want to have the added expense of adding it. Instead, the faucet connects to a culinary water hose and outside faucet. When not in use, the hose is disconnected from a 3-foot (0.9-m) long hose, which connects to a “Y” going to the hot/cold tubes on the faucet. The wastewater connects to a flat drain hose leading to the yard that can be rolled up and put away. A short 2x4 is used to hold the garage door open when the sink is in use.

TEMPERATURE CONTROL

Heating for the winery is provided with a ceiling-mounted electric heater. A common cooling system connects the wine cellar to the winery. The wine cellar is underneath the house where the crawl space is about 5-feet (1.5-m) high. Access is from a trap door inside the house. The cellar flooring was installed over a drain pipe, pea gravel, visqueen plastic sheeting, two layers of concrete board, and remnant floor tiles. Wine bottle racks were installed and anchored to the footings. It is not a thing of beauty, but it is functional.

However, my plan was to adapt a window air conditioner (AC) to a duct system. The refrigerated air would enter the wine cellar first, then the air would flow from the wine cellar to the winery, and then return to the AC.

The window AC is set up on a table

in the garage. I had the sheet metal shop fabricate two “boot” type ducts. The refrigerated air boot covers the outlet of the AC and connects to a flex duct going into the wine cellar. The 10-inch (25-cm) diameter flex duct chosen provided approximately the same surface area (square inches) as the outlet on the AC. The return air boot covers the inlet of the AC and connects to a 12-inch (31-cm) flex duct. This size provided approximately twice the square inches of a 10-inch (25-cm) diameter duct.

The two boots are connected to the window AC using sticky back Velcro strips and duct tape. The cool air flex duct goes to the near end of the wine cellar. At the opposite end of the wine cellar, a duct fan is inserted into the 10-inch (25-cm) flex duct, which goes into the winery near ceiling level. A connector splice collar is used to pass through the foam board. Inside the winery, the insulation around the flex duct was removed and directed to the opposite side. The return air inside the winery is a couple of feet below the inlet flex duct. This is important as when the winery is being heated or not needing cooling, the cool air inlet duct can be routed directly to the return air duct. This is easily accomplished by pulling the inlet flex tube out of its ceiling straps and inserting it into the return air duct and packing insulation around it. Since the return air duct run is about 25 feet (7.6 m), a duct fan was inserted at approximately the half-way point on the 14inch (36-cm) duct.

If the minimum desired tempera-

ture for the wine cellar is consistent with minimum setting on the AC unit, then the two duct fans should be adequate for proper operation. However, if the desired temperature for the cellar is below the minimum setting on the AC, then that temperature can be achieved with the installation of a CoolBot.

With the CoolBot configuration, the installation is somewhat tricky. First, the duct fans are a must, otherwise the AC will likely freeze up due to a lack of sufficient airflow. Second, a 2.5-mm mono extension cable is needed to place the CoolBot room temperature sensor in the wine cellar and away from blowing refrigerated air. Third, the AC temperature sensor and the CoolBot heater (which are wrapped together with aluminum foil) need to be located inside the AC, but off to the side from the fins and not insulated or touching anything metallic. Finally, the CoolBot heater delay should be set to d4 if cooling the wine cellar only, and set to d9 if cooling both the wine cellar and winery.

OVERVIEW

That’s the nuts and bolts of my winery build. Of course there are many little details specific to my build that I skipped for this article. Similarly, you will have aspects specific to your situation to figure out as well. But, the benefits of having a winery with temperature control vs. using multiple rooms (on multiple floors) has been worth every penny and all of the hours spent planning exactly how I wanted the winery designed.

Cooling for the winery and wine cellar utilizes a window air conditioner in the garage and flex duct with fans moving the air along from the cellar to the winery and back to the AC unit. When cool air is not needed for the winery, the duct is routed directly back to the winery (shown on the right).

TECHNIQUES

BY BOB PEAK

Plan properly to go big SCALING UP GRAPES

Many home winemakers find a “steady state” for their wine production: Making enough wine every year to meet current needs for themselves, friends, and family. They keep the cellar filled and have enough variety to please their palates. Equally important, the steady output of fermentations suits the equipment and facilities they already have.

On the other hand, my years of teaching the “Making Wine from Grapes” Boot Camps at the annual WineMaker Magazine Conference have taught me that many other home winemakers harbor ambitions to make more. I saw similar trends when I was a partner in a home winemaking shop: An urge by many to make more wine every year. Sometimes to eventually go pro and become a commercial winemaker. Their scale-up goals include working with a broader scope of grape varietals, the opportunities to make blends, and the chance to build a collection that allows significant aging of the best vintages.

So what does it take to scale up?

My focus here will be on wine made from fresh grapes. Excellent wines are made all the time from kits, concentrate, frozen must, and other fruits. By far the dominant share of larger-scale winemaking is with fresh grapes at harvest time. What does it take to move up from the quantity of grapes for, say, a five-gallon (19-L) batch to making 200 gallons (760 L) at a time? I choose that starting level because it is about where many home winemakers start. One-gallon (3.8-L) micro batches are possible, but with only four or five bottles to show for it, the return on effort is low. For the upper end, I am choosing the U.S. federal limit for no-license home winemaking in a home with two or more adults (a single adult is limited to half that). While clubs, family groups, and informal

gatherings of friends may collectively produce more wine, once you can produce 200 gallons (760L) on your own you are well set up for continuing your winery growth. Facilities, equipment, and labor all change as you go from the lower end of this scale to the upper.

Facilities for our starter batch are quite simple. Five gallons (19 L) of wine requires roughly 100 lbs. (45 kg) of grapes. When I was at the retail store, I shared the rule of thumb that from 100 lbs. (45 kg) of grapes you can get about six gallons (23 L) of juice for white or rosé wine or about 10 gallons (38 L) of must for red. In either case, after fermenting, pressing, racking, and aging you can probably count on about five gallons (19 L), or two cases, of finished wine. Because those volumes mean just a few carboys or buckets, the space requirement is just a few square feet of “winery.” You can make your wine in just about any indoor space or even outdoors if temperatures are mild and you can protect the wine from sunlight. A spare bathroom, a shower stall, or a tub can be pressed into service and has the advantage of plumbing for cleanup nearby. A kitchen pantry might serve similarly, or, if you forgo the plumbing you can make do with a closet, shed, or part of the garage. Since your fermenters can easily be carried around, equipment can be taken outside or to the kitchen for washing. This ad-hoc winery should work fine up to about 200 to 400 lbs. (90 to 181 kg). Those quantities will put you in the range of handling up to about 20 gallons (76 L) of wine and 30 gallons (114 L) of must.

Once you move beyond that range, say you want to make 50 gallons (189 L), you will probably want better space. For red wine, you will be using three or four food-grade trash can-sized fermenters or one large bin and the kitchen or a closet will probably not work anymore. The garage can still be used —

There

are a lot of winemakers content with making 5-gallon (19-L) batches. But for those with bigger ambitions, there are a number of considerations to work through.

Photo courtesy of the Blue Balls Wine Co.

The garage can still be used — indeed, there is a whole informal class of French commercial winemakers known as “garagistes.”

TECHNIQUES

indeed, there is a whole informal class of French commercial winemakers known as “garagistes.” You will need about the space of one car on the garage floor for your winery. Plumbing is still a question, but a garden hose in the driveway will probably get you by. At about this size winery, it may be time to begin thinking about a dedicated shed, an outbuilding, or putting an internal wall in the garage to keep odors of gasoline out of the winery air.

When you go to the 75 to 200 gallons (284 to 760 L) level, it is time to seriously consider dedicated space. While you can use some temporary space every year — like a crush pad in the driveway — you are going to need year-round space for the rest of your wine processing. Since 200 gallons (760 L) will require around 3,000 lbs. (1,360 kg) of grapes, your crush area and grape handling facilities will benefit from access by mechanized equipment. It is inconvenient to carry these weights around in buckets and picking bins. (For those of you following my calculations at home, you can see that I am estimating 6.67 gal. per 100 lbs. (25 L per 45 kg), rather than the 5 or 6 gal. (19 to 23 L) mentioned earlier. At this scale, you are approaching commercial production, where they commonly estimate 150 gal. per ton or 7.5 gal. per 100 lbs. (28 L per 45 kg). A large factor in the shift is heavier pressing, but lees recovery and smaller racking losses also play a part. You will need room for nine or ten trash can-size containers or about three of the bins commonly called “half ton.” These are square plastic bins about 4- ft. each side and 2-ft. deep (1.2 x 1.2 x 0.6 m). Each bin holds about 1,000 lbs. (454 kg) of grapes

as picked, hence the half-ton name. That one-bay garage space should still work, but keep in mind you need room to move around as well. At this point, temperature control and ventilation may affect your planning. Insulating your space will help, but you may also need dedicated cooling. Ventilation is especially important during primary fermentation. Very large amounts of carbon dioxide will be generated from this volume of fermenting grape juice and you need either large doors and windows or active fan-driven ventilation to prevent a dangerous atmosphere. While today’s column focuses on grape handling, if you are designing or remodeling a dedicated space, keep in mind room for laboratory testing, electrical utilities, and the provision for water supply and drainage.

Grape handling equipment mostly involves moving, crushing, and containing the grapes. At the smallest scale, getting the grapes home is simply a matter of putting a few buckets or picking bins in the car. At the middle size range, you can use an SUV or small pickup. I often buy about 500 lbs. (227 kg) of grapes from a vineyard. My Subaru Outback can hold four 32-gal. (121-L) square plastic fermenting bins in the back. As each bin holds around 125 lbs. (57 kg) of grapes as clusters, I can get my whole purchase home inside the car. Above this range, you will need a full-size pickup or a utility trailer. For three half-ton (450 kg) bins as mentioned above, you will need to stack them in the truck bed (and strap them down) or use a trailer big enough to hold them all.

When it comes to unloading at home, buckets and picking bins are easy — no equipment required. The kind of square

bins I use can be unloaded by two people and then moved around with a dolly or in a small utility trailer behind an ATV or garden tractor. When you get to the half-ton (450-kg) bin size, you need a way to get the grapes out of the truck or off the trailer. That may be as simple as sliding down a trailer ramp or as complex as using a forklift and a pallet jack. If you go with wheeled equipment, your plans need to include the kind of travel surface that the equipment needs. At medium size, a gravel driveway may work but at the larger end of the range, concrete or asphalt paving is probably needed. There is one other alternative for unloading half-ton bins without mechanized equipment, but it is hard work and takes quite a while: A pitchfork. You can fork the bunches of grapes over the side of the truck bed into smaller fermenting bins, leaving the transport bins empty. Empty, they are light enough to be moved and washed by hand.

Once you have your grapes unloaded, your next equipment is for crushing. While it is possible to crush and destem 100 lbs. (45 kg) by hand, a small roller crusher or manual crusher/destemmer makes it much faster and more efficient. At some point beyond that, perhaps around 500 to 1,000 lbs. (227 to 450 kg), you will want to invest in an electric crusher/ destemmer. Most models sold in home winemaking shops can process about one ton (900 kg) per hour and can meet your needs up to several tons — higher than the high end in this column. To move the grapes into the crusher, picking bins or buckets can be poured right into the hopper. If you are working with mid-size bins like mine, you can tilt one that is

full of grapes, dumping the grapes into picking bins that you can lift up to the crusher. At the half-ton (450 kg) size, moving the grapes either requires a special bin attachment for your forklift or tractor, or a lot of pitchfork work.

More convenient (and more expensive) than a standard crusher/destemmer is an electric destemmer with a must pump. Instead of positioning the crusher over a bin and collecting the must by gravity, a lower chamber of the device collects the must and pumps it out through a 2-in. (5-cm) diameter flexible hose. With that machine, you can crush where convenient — possibly forking your grapes directly from the pickup truck — and pump the must to your fermenters. The only time I used one of these the hose was only about 10-ft. (3-m) long, so be sure the equipment you choose will work with your facility. These destemmers typically have wheels so paved surfaces are needed.

Finally, let’s look at labor. For five to, say, 25 gallons (19 to 95 L) of finished wine you can do this mostly by yourself. One helper may be needed to position the crusher/destemmer over the fermenting bin, but otherwise you can handle things. Next up, in the middle range, you will almost certainly need one or two helpers on crushing day to move equipment, transfer grapes, and wash the equipment. If you get up into the one-ton (450 kg) handling range, you will definitely need a team. In my own grape processing, I have found the largest batches I do are readily handled by three to five people. If you use a crew that size and make that much wine, be sure to reward your helpers well!

BACKYARD VINES

BY WES HAGEN

BEST PRACTICES

Mythic vines make for mythic wines

There are two great subjects that fascinate me both academically and professionally — wine and mythology. I’ve never had the opportunity in more than 20 years writing this column to mention mythology, as it rarely intersects with my main goal in helping my readers grow and make better wine. Enter author, teacher, and mythologist Arthur George who moved to Santa Barbara, California wine country with his wife Elena and quickly became a working part of the vibrant small-production wine industry in the Santa Ynez Valley.

With the publication of George’s wonderful book this year, The Mythology of Wine, I was able to get to know Arthur a little better, see his COVID haircut (or lack of one), and tour his backyard Syrah vineyard from a safe 6-ft. (1.8-m) distance while we were both masked.

The vineyard was incredibly well manicured and for such a compact vertically positioned planting, the most impressive element to me was the consistency of trunk diameter and canopy growth. I would expect if we measured yield-to-pruning weight ratio, this vineyard would be within 5% consistency from most to least vigorous, except for a few blind positions on a vine or two.

My takeaway from touring the vines, tasting Arthur’s wine, and seeing his winemaking medals from the WineMaker International Amateur Wine Competitions and others, was that his planning, execution, and fine-tuning in the vineyard could help almost any small-scale viticulturist to grow better fruit and see better balance in the rows. There is no doubt having the benefit of being on vaunted “terroir” helps — wines scoring 95+ points on the Robert Parker scale have been grown within a few golf

shots of his home, but where potential meets planning and planning meets scheduled labor, that’s where great wine happens. Never by mistake.

Thanks to Arthur for answering my questions so thoroughly and helpfully, and I do strongly recommend picking up a copy of his book, The Mythology of Wine, on Amazon or at a local brick-and mortar (they can order it).

What inspired you to plant a vineyard in your Solvang backyard?

I wanted not only to make wine, but to do so from grapes that I farm myself. That way I’m responsible for the whole process, total vertical integration.

Did you do the install by yourself?

I had help from local professionals who install and maintain vineyards. I designed and marked out the rows myself. Since the soil is really hard once you get a foot (30 cm) or so down, I had to break it up. So I had a backhoe come in and dig a trench 3-ft. (91-cm) deep and 3-ft. (91-cm) wide where the rows would go, and replace the dirt back where it came from. Then the installers brought an auger to drill the holes for the end posts and installed them together with the other posts and wires. I had my regular landscaper/gardener install the irrigation system.

I couldn’t find anyone who would sell me rootstock in the small quantities that I needed, so I decided to do own-rooted vines from cuttings, since my soil type is low-risk for Phylloxera. I got them from Steve Gerbac, the Winemaker at Rusack, where I’m in the wine club. I specified what clones I wanted (174, 383, 877, and Estrella) and he gave me about 95 cuttings in December 2016. I got them to take root in planters in my garage over the winter.

Photos by Arthur George

. . . where potential meets planning and planning meets scheduled labor, that’s where great wine happens.

In late March 2017 I invited the professionals back to help plant them. They showed me how to do it, and I planted some and they planted the rest. I kept the remaining cuttings to use as replacements for those that don’t survive. About 30% of them did not survive and had to be replaced, which I did myself. I made a map of the vineyard showing what clone every vine is, including the replacements. Estrella is the most populous clone.

How did you decide on Syrah?

Here in Solvang we are in a kind of no man’s land, too hot for Chardonnay or Pinot Noir (these varieties are grown mainly in the Santa Rita Hills) and not hot enough for Sauvignon Blanc, Cabernet Sauvignon, and Merlot (more typical of Happy Canyon). I was always thinking in terms of a red, so I was thinking of Syrah from the beginning, since I know it is grown in Ballard Canyon nearby (Rusack, Stolpman, Jonata). Then Ken Brown of Ken Brown Wines (who was then my neighbor from just down my street) kindly came over to have a look after the trellising was installed, and he confirmed that Syrah is the best choice for my location.

The vineyard is beautifully trellised, managed, and manicured. What are your secrets to such straight trunks and nearly perfect spur pruned positions?

The cuttings were originally in growth tubes, secured by thin metal stakes. When I took off the growth tubes I tied the vines to the stakes so they grew straight up to the cordon. I then carefully and gradually bent them over onto the cordon wire, to which I also tied them as they grew sideways. After the vine was on the cordon and the trunk seemed like it would not bend from any stress, I removed the stake from the ground. On the cordon I gradually loosened the ties as the vine grew thicker so as not to constrict them (which I still have to do every few months). I use Velcro ties so this is easy to adjust.

Regarding the pruning, I studied how to do it (including in viticulture class at Allan Hancock College) and watched a lot of videos. I also had a couple of winemakers that I know from my winemaking club (Central Coast Home Vintners’ Association or CCHVA) as well as a professional come over to guide me. I’ve made a few mistakes, but fortunately not too many. My practice has been to err on the side of leaving more buds, in case some of them don’t develop well. I figured that if there are too many shoots I can always thin them out, which I indeed had to do. But now I’m getting more confident about leaving fewer buds.

What does your spray calendar look like? First sprays? Intervals? What do you use?

I start spraying once the longer shoots are 8–10-in. (20–25 cm) high, usually in April, and I spray until it starts getting really hot, usually around veraison or a little before that. The average interval is 7–10 days, but if it rains then I spray immediately thereafter. The sulfur product that I use is called Microthiol, a powder dissolved in water in my backpack sprayer.

(Wes Interjects: Powdery mildew and Botrytis are destroyed in arid heat spikes, so temperatures in the triple digits (>38 °C) usually “reset” the mildew/rot spray timer.)

The other thing I do to prevent mildew is to watch for bunches of leaves together. When I see any developing, I thin out the leaves to allow air to pass through and keep the leaves dry. I had absolutely no mildew problem this past growing season (2020).

When is your normal budbreak, veraison, and harvest?

Budbreak is usually the second or third week of March, veraison is late July. My first harvest, in 2019, was on October 7, which in retrospect was probably a week or so too early (see regarding numbers later). In 2020 due to the heat spikes in the summer the grapes ripened faster, so the main harvest was on September 22, but in one part of the vineyard the grapes (mostly smaller clusters) were ready earlier (27 °Brix) so I picked that a little over a week earlier and fermented that separately, put a layer of argon gas on it, and then

Planting a cover crop is a great way to temper the vigor of robust grape vines during the early part of the growing season. Photo is from April.

Properly netting your vines to protect the ripening fruit from predators after veraison will allow you to sleep at night.

BACKYARD VINES

blended it with the must from the main harvest before going to press.

What numbers do you like for harvest?

I only have had two harvests and both vintages are too young to drink, so there is no real track record yet and it is hard for me to say. In 2020 I picked at 3.48 pH and about 24.5 °Brix, which based on barrel tasting so far seems to have been about right. I picked more based on pH (and tasting the grapes, and the amount of shriveling going on) than Brix, because the pH goes up during malolactic fermentation and I wanted a final pH of no higher than around 3.6. In 2019 the pH and Brix were each about one-tenth lower, which in retrospect was a little too early. I picked then because some of the grapes were starting to shrivel and they tasted good, but in the end the wine lacks some fruit, which so far is overshadowed by some green tannins that may or may not work themselves out. (I’m not having this problem with the

about one to drink per week after subtracting those used for gifts, wine competitions, etc. By next year or the year after I hope to be up to 250 lbs. (113 kg), once the vines are mature.

What’s your protocol when it comes to yeast and must treatment of that precious estate fruit?

For my Syrah I use D254 yeast together with GoFerm Protect yeast food. A little before inoculating I add pectic enzyme.

Anything else you would like to share with other hobby or professional viticulturalists?

I do annual soil testing in December to check for any nutrient deficiencies or excesses, using AgLabs in Santa Maria, California. I have them take two samples from different parts of the vineyard, focusing on spots where I have concerns about how particular vines are performing. (When I installed the vineyard, I took two samples for a different reason. I figured that the front and back sections were different and out

2020 vintage.) The other reason for that is that one night the fermentation temperature got too high at 94–95 °F (34–35 °C) (before I quickly cooled it down with ice bombs), which can decrease the fruitiness, I’ve read.

How many vines and what is your average yield?

I have 52 vines. In 2019 they yielded almost 200 lbs. (91 kg), in 2020 about 215 lbs. (98 kg), which got me 13 gallons (49 L) of wine in bulk storage. That gets me about 65 bottles —

of balance because the front had had a lawn while the back was mulched, meaning that the back part would be nutrient-poor. It took a couple years before the two parts fell into balance, before any harvests.) The lab tells me what nutrients I need to apply in what quantities (on a per acre basis, so I have to do some math). I apply the nutrients by hand rather than through the irrigation system because the vineyard is small and I want the nutrients to be applied not just directly next to the trunk under the emitters but throughout the whole breadth of the root system.

(Wes interjects: This type of soil testing is great and gives a helpful result, but I suggest doing a petiole tissue analysis from the vineyard in the middle of, or right before, flowering. You can check with an agricultural laboratory for the protocol for this.)

I plant a cover crop in early December, consisting of a mix of several kinds of plants available from farming/garden suppliers. While it is growing, it helps temper the vigor of the vines. I then till it under once the vegetation starts to get out of control (late May or early June), and the crop’s nutrients enrich the soil. I don’t till too deeply, just enough to get under the crop to be able to turn the plants over, about 2–3 in. (5–7 cm) deep. I almost never encounter a root from the vines. Since there is generally no rain that time of year and the vineyard is small, I then hose it down so that the plants will decompose faster.

I planted the rows along a north-south axis so that the vines and clusters will get sun on both sides. I have shade issues in the vineyard, which is in four rows on the west side

The lab tells me what nutrients I need to apply in what quantities.

Post-harvest means it’s time for a deep irrigation before putting the vines to bed for the winter. Here is a shot from November.

of my backyard between my house and a tall hedge along the property line. The house casts a shadow on most of the vines until mid-morning, especially on the two rows closest to the house, while the west hedge casts a shadow in the late afternoon, especially on the two western rows. Only about 20% of the vines have ideal, totally unblocked sunlight, in two rows in the northeast section north of the shadow of the house. So I decided to plant the rows 8 ft. (2.5 m) apart rather than 6 ft. (1.8 m) to minimize the shadows that one row casts on another and gain sunlight. (With rows 6 ft./1.8 m apart, I would

have had an extra row and more grapes, but I’m after quality not quantity.) Also, for the western row along the hedge, I elevated the cordon (and therefore the whole canopy) 6 in. (15 cm) higher than the other rows to get it up into the sun more.

Being a mythologist, I’ve carried my interest in mythology over into my viticulture and winemaking. (I suppose not many mythologists are farmers, or vice versa.) So I call my vineyard Mythic Vineyard, which is specified on my label for my Syrah, and the image on my label for all wines is that of the Greek Horae dancing, from the painting “Horae Serenae” by Edward John Poynter (1894). My label won a gold medal at the 2019 Orange County Fair wine label competition. (Wes: I was a wine judge at that Competition, and I voted for your label!)

So far, it is proving harder to make good wine with my own grapes than with professionally farmed grapes from good commercial vineyards. On the other hand, I understand that wine from the first harvest or two in any vineyard is not going to be as good as from later harvests. My hope is that once the vines are mature my almost daily micromanagement will prove to be an advantage over the grapes farmed on a mass scale that I can just buy.

Wes: Thanks again to Arthur George for taking the time to help us understand his vineyard management and winemaking so we can endeavor to have rows of vines as tidy as his. Arthur and I did a great one hour interview on Wine Mythology that you can access for free here: https://www.youtube. com/watch?v=DtWhqP4EbOM

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.

Overwintering vines with some cover crop in place. This photo was taken at the end of February.

BSG

BACKYARD VINE DIRECTORY

Grow Your Own Grapes

DOUBLE A VINEYARDS

10277 Christy Rd.

Fredonia, NY 14063

(716) 672-8493

fax: (716) 679-3442

danielle.huber@doubleavineyards.com

www.doubleavineyards.com

We supply over 100 varieties of grapevines including a full array of American, French-American Hybrids, Seedless and Vinifera varieties. Our customer service and plant quality is second to none. We also offer a wide variety of books on viticulture.

FAIRHAVEN VINE NURSERY

5340 S. FM 2869

Hawkins, TX 75765

(903) 769-4616

www.fairhavenvinenursery.com

THE SPECIALIST IN SUSTAINABLE VITICULTURE

Container grown stock, plantable 12 months per year in most locations. We offer easy to grow varieties that are adapted to the most difficult growing conditions. Our lines include Certified Vinifera, French-American Hybrids and American Hybrids. Fast shipping nationwide. Wholesale pricing available!

Planning to Start?

KING STREET VINEYARDS

25 King St. Milford, NH 03055 (603) 672-7000

www.kingstreetvineyards.com

dave.quigley@kingstreetvineyards.com

KSV Fruit Nursery provides home owners with hardy and mature table/wine grape vines, fruit plants, and trellising materials for building healthy and beautiful backyard vineyards and orchards. Offering twenty five years of experience and knowledge.

NOVA BACKYARD

6735 Sonoma Hwy.

Santa Rosa, CA 95409

(707) 539-1005

fax: (707) 539-2819

www.novabackyard.com

sales@novabackyard.com

NovaBackyard is the backyard gardener’s source for quality grape vines, olive trees and more! Located in beautiful Sonoma County, with over 20 years experience. Your gardening success is our highest priority!

READER SERVICE

GO

MUSTO WINE GRAPE CO., LLC 9 1-877-812-1137 or 860-278-7703 www.juicegrape.com www.winemakinginstructions.com sales@juicegrape.com

NAPA FERMENTATION SUPPLIES 19 707-255-6372 www.napafermentation.com napafermentation@aol.com

NOONTIME LABELS 55 561-699-0413

www.noontimelabels.com customerservice@ noontimelabels.com

PARDO WINE GRAPES 41 813-908-6440 www.pardowinegrapes.com pardowinegrapes@aol.com

PORTOFINO JUICE & WINE PRODUCTS 22 1-866-513-2982 or 416-740-4411 www.portofinowines.com info@portofinowines.com

ONE GREEN WORLD

6469 SE 134th Ave.

Portland, OR 97236

(877) 353-4028

email: info@onegreenworld.com

Visit us at: www.onegreenworld.com

One Green World is a family owned edible plant nursery offering a large selection of grafted wine grapevines, fruit trees, berry bushes, and resources to help successfully guide you on your journey towards edible landscaping and homegrown fruit.

PLANTRA, INC.

1230 Eagan Industrial Rd. Eagan, MN 55121

(651) 686-6688

fax: (651) 681-2067

www.plantra.com

maryjo.pauly@plantra.com

Plantra is a leading designer, manufacturer, and supplier of products for vineyards, orchards, nurseries, wildlife habitat, forest restoration and the passionate horticulturist.

MOREWINE!

1-800-823-0010 www.morewine.com info@morewinemaking.com

QUALITY WINE AND ALE SUPPLY / HOMEBREWIT.COM 35 574-295-9975 www.homebrewit.com customerservice@homebrewit.com

SPEIDEL TANK 15 www.speidel-stainless-steel-tanks.com

VINMETRICA 1 760-494-0597 www.vinmetrica.com info@vinmetrica.com

THE VINTAGE SHOP .................. Cover 3 604-590-1911 www.thevintageshop.ca info@thevintageshop.ca

VINTNER’S BEST® 5 1-800-321-0315 www.ldcarlson.com

WATERLOO CONTAINER COMPANY 1 1-888-539-3922 www.waterloocontainer.com

WINEMAKER BOOT CAMPS ONLINE 59 www.winemakermag.com

WINEMAKER DIGITAL DOWNLOADS . 54 www.winemakermag.com/ digital-downloads

WINEMAKER INTERNATIONAL AMATEUR WINE COMPETITION 24-27 802-362-3981 ext. 106 www.winemakermag.com/ competition

Or

Here is a list of suppliers where you can purchase grapevines and/or supplies for your own home vineyard...

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

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!

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.

WINEMAKER DIRECTORY

ALTERNATIVE BEVERAGE

19725 Oak St.

Cornelius 28031

(CORNELIUS)

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 NICHOLAS COZZARELLI

THE COZZARELLI LEGACY

Flashback to WineMaker magazine’s Summer 2000 issue: Dr. John Cozzarelli was featured in the “Cellar Dwellers” section with his 90-gallon (340-L) batches of wine made each year. Also on display were his label designs and a description of his extravagant annual wine-tasting party. His interest in winemaking started after a visit to his physician, who told him that drinking a glass of red wine each night will help to lower his cholesterol. That one suggestion opened a door to past, present, and future, connecting generations and sparking a familial renaissance.

Around the same time he was starting his winemaking journey he also welcomed three sons into the world: John Paul, Nicholas, and Marc. I am the middle child and the three of us grew up watching him make wine each year. We would also crash his yearly September Wine Party after the babysitter would drop us back home . . . the parties ran deep into the night and babysitter had a curfew.

Over the past 20 years my father has attracted many friends to join him in his winemaking adventures.

“I did not only want my friends to make good wine, but I wanted them to appreciate each step of the process from picking the grapes to labeling the bottles . . . because it’s all about presentation,” he told me. This ardent group of winemakers make more than 700 gallons (2,650 L) of wine each year. It’s a lot of grapes!

Passing down tradition is of the utmost importance in Italian families. Just like my father took over the winemaking tradition from his grandfather, Domenico Carissimo, he always dreamed of passing it down to my brothers and me. My grandfather on my mom’s side was

also a winemaker whose family has been making wine for generations.

Most recently, I have become one of the people my father has taught to make wine. Growing up, I would help my dad with some steps in the process, but I’m proud to say this is the first year I made wine from start to finish. He helped me make a 30-gallon (113-L) batch this year consisting of four red grape varieties and two white, which we picked from Corrado’s Market in Clifton, New Jersey, the same market he has bought his grapes from the last 20 years.

As long as I can remember, I’ve always held a strong passion for connecting deeper with my Italian heritage, which is why I wanted my first wines to be Italian grapes. So I opted for Brunello, Lambrusco, and Trebbiano to honor that tradition. To me, it’s about my roots and the sacrifices my relatives made to come to this country to give my family and me a better life. This love for the Italian culture also inspired me to study Italian history and literature at Seton Hall University, where I became a La Motta Scholar, which is the highest honor of Italian studies there.

Everything I accomplish in life is dedicated to all of my relatives who left Italy. The least I can do is continue the beautiful traditions that they passed down. Throughout all the hardships both sides of my family faced coming to this country, their strong love for their heritage was never lost.

I’m looking forward to continue making wine for many years to come, and I’m especially enjoying this winemaking season now that my brothers, John Paul and Marc, have joined my father and me. We are all looking forward to seeing my family continue to share and pass down this passion to neighbors and future generations!

The author proudly dumping grapes into the crusher/destemmer for his latest batch of wine.

(From left: Marc, John, John Paul, and Nicholas)

Passing down tradition is of the utmost importance in Italian families.

A family steeped in winemaking

Photo by Vincent Cozzarelli