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fun doing it by by now. This is kovr tv channel 13 Stockton sacramento. This is one of a series of 10 lectures on the appreciation of wine produced by the Education Department of McClatchy. Broadcasting in cooperation with the University of California

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Davis extension. The featured lecturer is Dr Maynard A. Amerine, professor of enology. In our last sessions we discussed how wines differ. That is why they differ from each other and especially emphasize the importance of the census as to how they differ this time. Our task is

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to determine if and how wines differ. Now there are good many problems of sensory evaluation and we have listed some of these on some charts so that we can see them very quickly and easily as to the problems of sensory evaluation. The first problem of sensory

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evaluation is taste thresholds. Uh We all differ in our taste threshold. Some of us are very sensitive to acids, some of us are very sensitive to sugar, some of us are less sensitive to these. There are very few hereditary defects which influence the tasting of wines.

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There are a few people that are insensitive for hereditary reasons to the bitter taste, but this is rather uncommon. Most important however, is our physical condition. If we have a cold, the nostrils are clogged up and we can't smell. So it's very important that we do

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not try to make any critical evaluations of wine if the wines are to be tasted when we have a cold. We also spoke last time of the fact that the sensation is proportional to the concentration, not directly proportional to concentration, but to some function of the

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concentration. This is what we call the vector weber law. And it simply means that when we have very small concentrations we can detect very small differences, but that when we have very large concentrations, it takes a very large difference uh to for us to detect. And

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then we have finally the question of fatigue or adaptation. This can be temporary as for example, when we smell a wine for continuously for several minutes or it can be permanent. In a few cases, there is not very likely that anybody will be permanently fatigued to

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a wine unless they continue to taste them very regularly. But it is possible to have temporary fatigue or adaptation. And this is the reason why we emphasized in our last session that it was very important that we sniff the wines in small, discrete sniffs rather than

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continuously. Now there are some psychological problems also that have to do with uh tasting or sensory evaluation. First there is the suggestion. If somebody else suggests that a wine is going to be good, we will almost certainly look at the wine and try and find that

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it is that good or if it's somebody that we don't trust, we may find it just the opposite of what his opinion was. In any case suggestion by even yourself or by other people is not the proper way to start a tasting. You should start with

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a completely open mind. This is the wine and you're going to make a judgment on the wine all by yourself. And we indicated last time the importance of the stimulus error, false association. I've called it here. Uh that is that we judge the wine by the

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type of bottle or the label on the bottle and so forth. This is not the proper way to judge wine. Our mental condition will have some effect if we're worried or otherwise distracted, we will probably not get very good results. The stimulus are also affects us

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when we think that wine should taste like something and in actual fact it doesn't. This is like making believe that the apple smells like a pear when it really doesn't. There is another very important effect and that in tasting and that is the effect of pleasant

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on unpleasant and vice versa. If we have a very pleasant wine and we follow it with an unpleasant wine, the unpleasant wine will taste more unpleasant than it really is and vice versa, if we have a very unpleasant wine to start with and follow it with

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a very pleasant wine, the pleasant wine will taste really better than it really is. And then finally there is concentration, we must concentrate on what we're about. It can be demonstrated statistically and in experiments that if we concentrate on the uh smell that we're about to

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smell, that we can identify it at a much lower concentration than if we're not concentrating. So it is important that we put our minds to what we are about. Now, there are some practical or personal problems. And tasting the first of all, it's physical comfort. We

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shouldn't be an uncomfortable chair or uh the room should be at the proper temperature and so forth. There should not be any distracting odors or sounds, distracting odors or sounds will distract our concentration and we will be less sensitive to the odors and quite likely to

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miss very small differences. The same thing is true of distracting colors or movements. Even uh somebody moving through the room unexpectedly or uh the sound of breaking glass or something like that will immediately distract us from our concentration and we won't get as good results, appetite

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is fairly important. The best time to taste wines critically is when you are have a very good appetite. We, most of the industry, people in testing wines for the smallest differences. Try and do the testing sometime in the morning, just before lunch, when they have the

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maximum amount of appetite. Now, the number of samples is very important. Probably most of us can't really evaluate more than four or five samples at a time. This is without even swallowing the wines or anything like that. It's just the fact that we do have a

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certain amount of adaptation and fatigue developing and if we reduce the number of samples, we get much better results than if we don't reduce the number of samples. So we try and keep the number of samples down to about five if possible. And then finally we

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have some practical physical problems. Uh First of all is the temperature of the wine we outlined two sessions ago, the proper temperatures at which wines should be served. If they're not served at these temperatures, people are quite likely to get results that are not correct. They

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will be surprised at the new temperature of the wine. It's like trying to judge what's supposed to be hot consomme when it's really cold. Consomme. The same thing is true of tasting of wine. It should be at the temperature which we're accustomed to tasting the wine

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and then the size and the shape of glasses. They should be rather generous shape in the glasses. We'll be looking at some glasses in a few minutes and these will be glasses that have quite good shapes for smelling and tasting wines. Uh It's quite possible to

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pick up other odors and even other taste. The use of uh a toothpaste which has a very strong taste and then immediately trying to taste wines will throw one off or being in a room where there are some sweet peas or other flowers which have a

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large amount of smell will immediately throw one off. We also have a customary order of tasting wines, which is fairly important. We try and taste wines going from dry wines that is wines containing no sweetness or sugar to wines that have more sugar. We also try

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and go from wines of low alcohol to high alcohol. This is because the high concentrations were much more likely to be fatigued and so it's very desirable that we have the low concentrations first and the high concentrations at the end, if we do this in the

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opposite odor, people who are accustomed to tasting wines will be thrown off and we're all more subject to adaptation if we do it the wrong way around. And then finally the method of presentation. This has to do with some tests that I will be discussing now

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and I will discuss some of these with you the first and most difficult kind of of problem is to find out if there is a difference and I will write down now some different kinds of tests that can be done by people who are interested in

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finding out if there's a difference. The first way to do it would be to just give them two samples. We call this paired samples and we simply asked them, well, we'll code these With the numbers 32 and 71. And we simply asked the person which one

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of these samples is more sweet than the other or which one is more acid than the other. Obviously you have a 50 50 chance of getting this correct if you do it just once. So you have to repeat the test a number of times. Uh this

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is more for experimental use and most of the time we won't be doing this in our homes. A much more practical test for home use Is to give them three samples or three glasses. Excuse me. We call this triangular testing. Uh this first class will contain

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a wine which we will indicate by the crosshatch in this direction. The third glass will contain another kind of wine which will cross hatch in this way. As far as the taster knows, these glasses are all the same. He is told that there are two wines.

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So one glass is odd Or different than the other two. Now the uh, tasters job in this case is to identify which one of these three glasses contains the wine that is different than the other two. In this case, it's very obvious that the two here

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on my left, the one with the crosshatch in this direction are the same. And the one on my right here with the opposite crosshatch is the glass that contains the odd or the different sample. If you can identify the odd sample in a test of this

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kind. five Out of seven times. The odds are the chances that you are doing this pure and simply by chance are about one in 20. In other words, there's 19 out of 20 chances that there's a real difference. You still have to repeat the test as

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many as five times because obviously you have a one third chance of getting the odd or different sample correct. This is about the simplest kind of simple difference test which we can use in our homes. It takes a certain amount of set ups and so forth.

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And I must warn you ahead of time that the wines must not differ in color. If the wines differ in color at all, the chances they will pick this one out from these two are very easy. So the wines must be exactly the same color. If

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the winds are not quite the same color, it's possible for us to put the color of the glass, use a green shaped glass or colored glass of some kind and then put the wines in the colored glasses and the color will no longer be a factor.

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Well, this gives us very important information about the wines. It tells us immediately if in fact these two wines are different from each other and this is important information for us to have most cases, people will find this too much work and they'll want to do

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a much simpler kind of tasty. And this is what we call ranking. We have a series of wines, we'll say we'll give them numbers as we did before. Now, here we have five glasses containing wines number 32, 71, 64 and so forth and we are asked

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to place these in some order, we, we might ask the people to place them in order of of the the most pleasant balance of the acidity in the sugar and the one that is that has the most pleasant balance will place first, the next and second,

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the next and third, the next and fourth and the next and fifth. So 71 would have the most pleasant balance of sugar and acid 60 for the next most pleasant 18. The next most pleasant and so forth. This is a very simple kind of test. It

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doesn't tell you exactly how much difference there is between the two samples, but it gives you a great deal of information because if everybody agrees, if a whole series of people agree that number 71 has the best balance of sugar and acid, then we can be

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quite certain that there is in fact a preference for the sugar and acid balance of wine. Number 71 as against 64 18 and so forth. There are statistical measures for measuring the difference of these, that it isn't terribly important if there is a good agreement among

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the group. On the other hand, if the group doesn't agree at all amongst each other, that means that there probably isn't any very strong preference for the sugar and acid balance of the wines that are being discussed. Now, there is one limitation of ranking which we

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ought always to remember the limitation and ranking. Is that all those. Number 71 here was number one, and number 64 was number two. It doesn't tell us how much better. Number 74 was, and number 60. Number 71 was that number 64 It might be that number

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71 was almost perfect wine. It might be just a fantastically good wine, whereas number 64 might be a rather poor wine and 18 even poorer and 27 even poor and 32 two. Very, very poor wine. Indeed. So ranking doesn't tell you how much difference there is

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between each of these steps in the ranks. It only tells you that 71 is in fact the best sample here and 64 is the next best sample, but 71 may be a very fine sample and all the rest of them may be relatively poor samples in

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recent years. In order to provide an easier kind of testing, we have begun to develop hedonic scoring and again, I think by showing you a slide it will be much easier for you to see what hedonic scoring is like. Hedonic scoring is done on the basis

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of how much pleasure the wine might give us. And here we have an example of a 10 point Hedonic scorecard, If the wind was the most pleasant wine imaginable, we would give it, we would check that there. If it was very pleasant or most pleasant. We

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would place it next, extremely pleasant. Next moderately pleasant, mildly pleasant, indifferent, meaning that we neither liked it or disliked it mildly unpleasant, moderately unpleasant, extremely unpleasant. Most unpleasant and the most unpleasant imaginable. This is a little bit bigger. Hedonic scorecard than we normally use. But it

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is a scorecard that will be very useful in identifying which sample is most pleasant. And this doesn't run into any definitions of how the type is and whether it conforms to some standard of reference, it simply ask you how pleasing the wine is to you or

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how an pleasing the wine is to you. Again, there is a limitation. We must have some experience in measuring how the hedonic scores should be. There might be some confusion between the most pleasant imaginable and most pleasant are extremely pleasant and moderately pleasant. And generally speaking,

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we use a perhaps only a nine point scale or even a seven point scale instead of the 11 point scale which we have given you here. Now, As important as these different methods are paired testing or triangular testing or ranking or hedonic scoring. They're not nearly

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as important as another method which we call the use of a scorecard and we have placed a scorecard on the board here which takes into account all of the different factors of a wine and how they differ from each other. Uh We have given this is

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a 20 point score card. The total number of points in this score card is 20 We have given 10% or two points to appearance, you'll recall from our last session that had to do with whether it was cloudy or brilliant Or dull in appearance, we've given

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another 10 points to the color that means that the color is appropriate to the kind of wine that we are going to be uh discussing or we're going to judge. Uh, the a Roman bouquet gets 20% or four points. Uh, this a Roman bouquet has to

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do the Aroma again with the flavors that come from the grape, the bouquet, those that come from processing or aging. Uh, this would also include the off roaders that we mentioned last time. A session is a 25 cent word for vinegary smell. We don't like to

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think of any wines being vinegary and as a matter of fact, it's very rare nowadays that we find a wine that actually is a session. So most of the cases and particularly in California, will be scoring two points or 10% of the total score on a

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session, meaning that it has no vinegary smell. The total acidity which gets another 10% of the total score. We indicate that as being the degree of acidity which is appropriate to the type. We want the acidity of dry wines to be rather higher than those of

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sweet wines. We don't like sweet sour case and uh, so we want a good acidity, not too high acidity of the wine is sweet and not too low acidity. If the wine is dry, The sugar content, which only gets 5%, is it appropriate to the type?

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If it's supposed to be a dry wine and is in fact suite, we would take some points off from this. If on the other hand, it was a sweet wine and was too sweet, we might also take points off for the same thing. The body is

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a inside word as far as wine tasters are concerned, but it really refers to the amount of alcohol content. If the wine has very, very low alcohol content, we say it's very thin. This will rarely occur in California wines because of our warm climatic conditions, we

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get plenty of alcohol in our wines, but sometimes in european wines, the wines will be truly very low in alcohol. Swiss wines, some german wines and some other european wines, particularly wines from cold years in europe will be lacking in body, they will be lacking in

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alcohol content and we will be taking off some points for that. But most of the time in California, this 5% will be scored as a plus. Now, theoretically, we've taken up all of the taste except astringency or the bitter taste, which will come to in just

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a moment. But in fact, there are some taste and some smells that don't become evident until the wine is actually in our mouth and these we call the flavor. These are those odors and taste which do not become apparent until the wine is in our mouth.

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The balance of the sugar and acid would be judged here if the wine is fruity or if it had a very nice balance of sugar and acid. But if on the other hand, it was unbalanced, it was very, very high in acid and very, very dry.

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We might take some points off here. Astringency is only a factor in judging red wines. It's not a very important factor as far as white wines because white wines have very little astringency. But in red wines frequently the wine is young and still has too much

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astringency and we must take some points off their the stringency altogether is a true taste and counts for 10%. Now, this part of the scorecard these 18 points, I really ought to give us a good picture of what the general quality of the wine is. But

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in fact, in scoring wines, there's another factor we might call this general quality, or the after taste of the wine or the whether we can remember how good the wine was. Could we describe the wine after we get through? Does it leave an overall generally good

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impression? Do all the parts of the wine seemingly fit together? And do we have a pleasant feeling about the wine when we finish and so we've saved 10% for this here. Now I'm going to go through one wine just as a matter of curiosity to show

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you how we might score rose. This is the brilliant rose. And so we can score at the very start here, we can call it brilliant and give it two points. Uh you can look at the appearance through the light uh in order to get that now

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as to the color. Uh, this is pink. All right, But it's a little orange pink. And uh, we don't like for our roses to be orange pink. We would rather have them uh quite pink. This is a little on the orange side. And so we would

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only score this one point now in the aroma and bouquet. First of all, we smell the wine for the off roaders. And this doesn't have any operator is there's no sulfur dioxide here. There's no witty character here and so forth. So we would then indicate that

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there was no operators. The aroma doesn't have any gravy aroma and it does have a great aroma, but we can't identify the variety. So we just simply call it minus. That's about the least we can say. And it doesn't deserve very much credit. Has it been

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aged in the bottle? And as it developed some bouquet? And in this case, we would say it has no bouquet. And we would only give it a total score of two points for a roman bouquet for the vinegary smell. Uh the vinegary smell in this wine

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is very low. Uh So we would simply say that it was low in the sessions and give it two points in tasting the wine, we would might find that the wind was a little low in acid. And so we would give it one point, it would

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be dry and most of our California roses are dry and we would give it one point. I've already indicated that most of our California lines have a good body. So we would give it one point. Uh this wine was a little low in acid. We might

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say it was slightly flat and give it one point. It was certainly not a stringent. And so we would say it was smooth and give it two points. And as to the general quality, we might think that this wine had some repetition value, we'd like to

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taste it again, gives us overall pleasant thing. So the total score here would be 23456789, 10, 11, 12, 13 or 14 points. This is a good score for commercially acceptable California wine. And about the kind of score that we would would like to have if this

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had scored as high as 17, we would say it was an exceptional California wine. And if it had scored 12 or below, we would say that it was not a very high quality wine. So actually in in using this scorecard, if the scores come out 17

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or above means that we are dealing with a very high California wine if it comes out in the range of about 13 up to 16 in this middle range here, it's a good standard California wine. And if it scores something less than 12, it's a wine

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that is not very important. We have here are some different types of California wines and I want to show them to you there labels representing the important kinds of California wine. The first one here is an emerald recently and this is a varietal type of wine

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belongs to our white table wines. And then just next to it here we have a shabbily which is not a varietal type of wine, but was what we call a generic type of wine. These wines, we expect to be very fresh and fruity as we do

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the California wine. Uh these two varietal red, uh this is a rose and I've just given you some of the factors for judging rose. These next two wines are varietal California wines, the first one being a cabernet sauvignon and the second one being a zinfandel. And

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these, we would expect to have a good deal of varietal character, whereas the wine called vino rosa, we would not expect to have much varietal character and we would expect it to be uh slightly sweet. The wine called California burgundy, we did not expect to have

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any varietal character, we would only expect it to be a good sound wine in California sherry's, we want them to be a nice color and in this case here where it says sherry presumably would have a slight mellow character, but we would not want it to

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be very sweet. Whereas in looking at California ports, we want California ports to be fairly red in color. If it was a tawny ports, we would expect it to be Tawney. And then finally, in the end, we have a California Champagne here, which can be dry

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or sweet. If it's really very dry, we would expect it to be indicated by the word brute. You have been watching a lecture by dr Maynard A Amerine Professor of analogy. This television courses presented in cooperation with the University of California Davis Extension. It is produced

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by the Education Department of Mcclatchy Broadcasting. This program is one of a series of 10 on the subject of wine appreciation, Die die my darling stars, Tallulah Bankhead and Stephanie powers in the terrifying story of an aging actress who tries to kill her dead son sweetheart.

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Today at 6 30 on Channel 13, Stockton Sacramento Focus on education is presented every Saturday by Kovr Channel 13. It's produced by the Education Department of McClatchy Broadcasting. In cooperation with the schools in this area. Today's program features, there is no such thing as every joke

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is basically