It had developed a thin, but notable layer of yeast down at the bottom of the carboy. The bubbles from the degassing CO2 at the top were starting to dissipate as well. I figured that it would be good to get it off the yeast residue and that the racking would speed up the degassing process. I grabbed a sip as I racked and was pleasantly surprised. It was certainly still bubbly but pleasantly acidic and not overly sweet.
The racking process left me with a bit of headspace again, but I fortunately had a bottle of Frey white hanging out in the basement. I used about half that bottle to get the level back up. (Does that count as an additive?)
That wholeFroZin affair I wrote about? That was all in preparation for an attempt using fresh grapes from last years harvest. I thought of the frozen must as a test run for the real thing come September.
Choosing the varietal
I did want to make it a bit easier on myself though, so I decided I’d use pressed white juice bought through Brehm. Other than the frozen Zinfandel must, my experience up until this point had been with kits: a successful white and two mediocre reds. The choice of pressed white juice was playing it safe: better memories of success and no skins to deal with.
I browsed Brehm’s site for white varietals that could be picked up within driving distance of San Francisco and settled on the Chardonnay from Tolay Springs Vineyard (basically the only option that suited my criteria). I ordered 6.5 gallons of it in August and waited.
Last week, I started recounting my first non-kit winemaking attempt last summer, using frozen Zinfandel must from Brehm. Check out part 1, here.
Immediately after racking the freshly fermented must to a 3 gallon carboy, I could see a problem coming. There was a good amount of headspace at the top of the carboy. I planned to use this vessel for the aging process after fermentation as well and by that point, there wouldn’t be any protective CO2 coming off of the wine. Doing most of your winemaking education online leaves you with a distinct fear of oxygen exposure. So before the fermentation stopped, I had to get that level up.
I tried to read all I could about what folks do in this situation: marbles, bladders, vacuums, water. The easiest (lazy winemaker here!) seemed to be simply adding other, similar wine. This is a little disappointing since it’s diluting the originality of the final product, but it seemed better than diluting it with water, buying expensive equipment, or risking the marbles breaking the carboy.
I didn’t want to top up with Carlo Rossi, or the closest to cheap, bulk wine that I could find. I wanted something that would minimally mess with any further development that it still had to go through, so stuff loaded with additives wasn’t in the picture. I visited one of our local natural wine–focused spots, Terroir, and their bartenders recommended the cheapest, no-added-sulfites red blend containing Zinfandel that they were able to think of. I’m sadly forgetting the brand.