As with music, some people seem born to it. Maybe they have more olfactory receptors or their brain is wired differently, maybe both. Langstaff liked to sniff her parents’ leather goods as a small child. “Purses, briefcases, shoes,” she says. “I was a weird kid.” My wallet is on the table, and without thinking, I stick it under her nose. “Yeah, nice,” she says, though I don’t see her sniff. The performing-chimp aspect of the work gets tiresome.
While not discounting genetic differences, Langstaff believes sensory analysis is mainly a matter of practice. Amateurs and novices can learn via kits, such as Le Nez du Vin, made up of many tiny bottles of reference molecules: isolated samples of the chemicals that make up the natural flavors.
A quick word about chemicals and flavors. All flavors in nature are chemicals. That’s what food is. Organic, vine-ripened, processed and unprocessed, vegetable and animal, all of it chemicals. The characteristic aroma of fresh pineapple? Ethyl 3-(methylthio)propanoate, with a supporting cast of lactones, hydrocarbons, and aldehydes. The delicate essence of just-sliced cucumber? 2E,6Z-Nonadienal. The telltale perfume of the ripe Bartlett pear? Alkyl (2E,4Z)-2,4-decadienoates.
OF THE FOUR half-pints on the table between us, Langstaff prefers the lightest, a strawberry wheat beer. I like the IPA best, but to her that’s not a “sitting and sipping” beer. It’s something she’d drink with food.
I ask Sue Langstaff—sensory consultant to the brewing industry for twenty-plus years, twice a judge at the Great American Beer Festival—what she’d order right now if she had to choose between an IPA and a Budweiser.
“I’d get Bud.”
“Sue, no.”
“Yes!” First exclamation point of the afternoon. “People pooh-pooh Bud. It’s an extremely well-made beer. It’s clean, it’s refreshing. If you’re mowing the lawn and you come in and you want something refreshing and thirst-quenching, you wouldn’t drink this.” She indicates the IPA.
Of all the descriptors in the Beer Flavor Lexicon I brought with me today, Langstaff would apply just two to Bud: malty and worty. She warns me about equating complexity with quality. “All that stuff you read on wine bottles, in wine magazines, where they throw out a dozen descriptors? That’s not sensory evaluation. That’s marketing.”
Taste—as in personal preference, discernment—is subjective. It’s ephemeral, shaped by trends and fads. It’s one part mouth and nose, two parts ego. Even flavors that professional evaluators agree are “defects” can come to signify superior taste. Langstaff mentions a small brewery in northern California that has been taking its beers right up to the doorstep of defective, adding strains of bacteria known for their spoilage effects. Whether through exposure or a desire to ride the cutting edge, people can acquire a taste for pretty much anything. If they can come to like the smelly-foot stink of Limburger cheese or the corpsey reek of durian fruit, they can come to enjoy bacteria-soured beer. (One assumes there are limits, however. Leaving olive oil in contact with rotting sediment at the bottom of a tank can create flavors enumerated on Langstaff’s Defects Wheel for Olive Oil as follows: “baby diapers, manure, vomit, bad salami, sewer dregs, pig farm waste pond.”) Because it’s hard for people to gauge quality by flavor, they tend to gauge it by price. That’s a mistake. Langstaff has evaluated wine professionally for twenty years. In her opinion, the difference between a $500 bottle of wine and one that costs $30 is largely hype. “Wineries that sell their wines for $500 a bottle have the same problems as wineries that sell their wine for $10 a bottle. You can’t make the statement that if it’s low-cost it’s not well made.” Most of the time, people don’t even prefer the expensive bottle—provided they can’t see the label. Paul Wagner, a top wine judge and founding contributor to the industry blog Through the Bunghole, plays a game with his wine-marketing classes at Napa Valley College. The students, most of whom have several years’ experience in the industry, are asked to rank six wines, their labels hidden by—a nice touch here—brown paper bags. All are wines Wagner himself enjoys. At least one is under $10 and two are over $50. “Over the past eighteen years, every time,” he told me, “the least expensive wine averages the highest ranking, and the most expensive two finish at the bottom.” In 2011, a Gallo cabernet scored the highest average rating, and a Chateau Gruaud Larose (which retails from between $60 and $70) took the bottom slot.