How I created FFmpeg Commander Toolbox – a story of creation

Posted on May 6, 2026 by ray kodiak

You probably see a top link in the toolbar for “Ray’s FFmpeg Commander Toolbox”, so what is that all about ?

#1

This is a passion of mine, it first started as just a tool to convert video codecs/containers with various quality controls for final output; however after that I just kept developing additional features, mostly for everything that I wanted to do, so after that I did:

#2

Black and White Filmic conversion – this allows you to convert a Color film to B&W or improve an exiting B&W film, by simulating old B&W film stocks – like the famous Kodiak Double-X 5222 film and others, and it allows you to preview how it will look before you export.

#3

Then after that I wanted a built-in Player, so I use GStreamer to incorporate that and I just kept adding features into that made sense, I didn’t want to over do it or over crowd it.

#4

After that I wanted a Quick way to select a portion of a Video by simply typing in the start/end values to extract – so I did the Quick Edit.

#5

Naturally after that I needed a way to manage these clips, so I developed the concept of the Holding-Bin, this is where they are sent for further management – and of course once I could organize the clips, I wanted to add things like transitions and special effects, so I did that there as well, and this works super fast at the Metadata level of the clip videos selected.

#6

After that I wanted a video way to select clips for Holding-bin insertion, so I developed that into the Player / you can open and video and on the timeline select the start/end point and add it to the holding bin – very useful actually, but I kept the old school Quick Edit as well, as I still find that useful.

#7

After that I wanted to develop some real cool video effects that work on top of the videos and not using Metadata, I added some standard ones that every tool should have, but then I started to add more unique effects like the Rule-of-Thirds reframe, Montage Reveal, Director’s Pause ( I first saw this in a Polish movie ) really well implemented and others… buy the tool and find out :). // it is able to do a stratified random scan across full video selected so it is aware how well the video is framed or not – this is typically useful for home-brew or hobby Directors or film makers, because professional films are already shot well; however, I would say that you can improve any film if you want – this is up to you.

#8

After that I needed a way to again show these effects, so lots of work was implemented dynamically inside the Player to show effects and they are all color coded, so each effects has its own dedicated swim lane. This is there incase you want to re-use the same effect at different point of the timeline and color coding visually separates everything easy on the eyes.

In addition the effects are buffered, so you don’t need to wait for it to compile, it will buffer it ahead based on your play position inside the timeline.

#9

After that, I wanted easy importation of GoPro videos and then I implemented the same for iPhone – yes this works on Win 11 as well, it was much easier to implement on a Mac, but I hacked it away and it works just as good on Win 11, you just have to install an additional drivers which is all automatic in the tool <– this was not super easy to do…

#10

Then I implemented Batch conversions, so you can select say 10 videos or a directory with a bunch of videos and it will convert to the Codes/Container of your choice.

#11

After that, the tool already had a Log at the bottom, but I expanded that to allow you to view more of the log or less, Copy, Search and Clear the log if you want – the Log is important so you see what is going on – and incase there are any bugs to report.

#12

Next I wanted to transcribe and add some Subtitles for a friend what wanted to see a few Polish movies, but they didn’t come with Subtitles – so I did that – this was eye opening, because working with language models was something new, this was probably the most complex and I just kept pushing / it will automatically detect what language the video is and transcribe to a few languages of your choice, including Burning in the titles into the Film.

Again, this is complex! but I kept pushing – right now I just implemented Speaker detection, so like if you have 3 people talking, it color codes each one so that it is easier to separate who is talking with different colors. Everything works, but speaker detection is only implemented on Win 11 because it needs a more powerful GPU to process and the hugging-face model does not support the Video-toolbox yet on the Mac, only CPU and that is just too slow.. but otherwise, both platforms do this… I am working to improve the accuracy of the speaker detection, again, not easy.

#13

After that I did the Screen Recording but only on a Mac – just to see if I can do that / I will not be adding that to Win 11 – as I am not trying to outdo any existing tools like OSB.

#14

Next, I added a Download feature – now this is kind of amazing, cuz you can download Videos from Youtube or even Facebook Reels and maybe even other sources as long as they are not DRM protected – just paste the URL and click Download – also support Cookies for some YouTube video download requirements.

#15

After that, I developed the Dependency checked, just to make sure everything is there – this software is compiled to include everything statically, it doesn’t use dynamic libraries for the most part, exception are the Nvidia CUDA drivers, which you will install by clicking on INSTALL button on first launch.

Conclusion….

There is a bunch of other smart features implements in the code behind the scenes as well, that you will never see.

I also probably forgotten to mention a few things as well, as this toolbox is big now – so now you understand why it is called a toolbox – because it has many tools and you can use them whenever you need them, just like in a working toolbox…

After all of this work, which took 6+ months / a few people said, Ray you made something very cool and real, you should try to market it and I did – initially on this web site and then I created a dedicated page for it.

This is why you see a Dedicated LINK at the top toolbar, this is me not some other company, but me.

If you think this is a tool you could use, please head on over to the site and look around and maybe consider purchasing it to support a small developer like me.

Yes, I have sold about a dozen+ copies so far, but the site is young, only been up for about 2 weeks since the publishing of this Post.

https://ffmpegcommander.com

Cheers!

Posted in video editing | Leave a comment

Statistical Hypothesis Testing and p-values Explained Simply

Posted on April 3, 2026 by ray kodiak





Statistical Hypothesis Testing and p-values Explained Simply


Statistical Hypothesis Testing and p-values Explained Simply

Key Terms (Read This First)

Why “alpha” and “beta”? These are the first two letters of the Greek alphabet. In statistics, “alpha” (α) is used for the cutoff for significance (Type I error rate), and “beta” (β) is used for the chance of missing a real effect (Type II error rate). “Alpha” means “first” and “beta” means “second”—they’re just labels, not special words.

  • Null hypothesis (H0): The “nothing special” or “no effect” claim. Example: “The new drug does nothing.”
  • Alternative hypothesis (H1): The “something is happening” claim. Example: “The new drug works.”
  • p-value: The chance of getting results as extreme as yours (or more) if H0 is true. Small p-value = data is surprising if H0 is true.
  • α (alpha): The cutoff for “statistically significant” (often 0.05). If p < α, you reject H0.
  • Type I error (α): False positive — you say there’s an effect when there isn’t. Controlled by your α.
  • Type II error (β): False negative — you miss a real effect. Lower β (higher power) is better.
  • Power (1-β): The chance you’ll detect a real effect if it exists. Aim for power > 0.8 (80%).

How Hypothesis Testing Works (The Flow)

  1. Write down H0 (no effect) and H1 (what you want to test).
  2. Choose α (how much risk of a false positive you’ll accept, like 0.05).
  3. Collect your data and calculate the p-value.
  4. If p < α, you reject H0 (evidence for H1). If p ≥ α, you fail to reject H0 (not enough evidence for H1).
  5. Remember: “Reject H0” means you found evidence for an effect, but it’s not proof. “Fail to reject H0” means you didn’t find strong evidence, not that H0 is true.

Picking H0 vs H1 — Student Guide

  • Write both hypotheses before you look at the data: H0 = “no effect” (default), H1 = the effect you want to test for.
  • The test only evaluates H0: you either reject H0 (data support H1) or fail to reject H0 (not enough evidence). You never “prove” H1 outright.
  • Choose one-sided vs two-sided in advance — switching after seeing data inflates false positives.
  • Don’t run lots of primary tests without planning corrections (Bonferroni, false-discovery rate). Multiple unplanned tests increase the chance of false positives.
  • Practical rule: pick one main question to test up front; treat other analyses as exploratory and report them as such.

What is a t-test?

  • A t-test is a way to compare averages (means) between groups and see if they are really different, or if the difference could just be luck.
  • Example: You want to know if people who drink coffee score higher on a test than people who don’t. You measure both groups and compare their average scores.
  • The t-test gives you a p-value. If the p-value is small (like 0.05 or less), you can say the groups are probably different for real.
  • If the p-value is big, the difference you see might just be random noise.

Types of t-tests:

  • One-sample t-test: Is my group different from a specific number? (e.g., is the average height different from 5’7″?)
  • Two-sample t-test: Are two groups different? (e.g., coffee vs. no coffee)
  • Paired t-test: Did the same people change after something happened? (e.g., did their test scores improve after a class?)

In summary

  • If you see p < 0.05, you can usually say “Yes, it’s probably real!”
  • If p > 0.05, you can’t be sure—could just be luck.

Which Software Should You Use: R or Python?

R and Python are the two most popular choices for statistics and data analysis. Here’s a quick comparison:

  • R
    • Designed for statistics and data analysis from the ground up
    • Excellent for academic work, research, and specialized statistical methods
    • Huge library of statistical packages (CRAN)
    • Great for making publication-quality plots (ggplot2, etc.)
    • Can be less intuitive for general programming or large projects
  • Python
    • General-purpose language that’s also great for data science and machine learning
    • Easy to learn and use for scripting, automation, and web development
    • Powerful libraries for stats and data (pandas, numpy, scipy, statsmodels, scikit-learn)
    • Better for integrating with other software and production systems
    • Some advanced statistical methods may require extra packages or more code than R

Bottom line: Both are excellent. If you’re just starting, pick one (R or Python) and stick with it for your stats work. Mastering one is better than mixing both. If you want to focus on statistics and academic analysis, R is a great choice. If you want to combine stats with programming, automation, or machine learning, Python is ideal.

Practical note: Even though this is a really good guide, your choice will also depend on your work environment and what is approved or preferred. For example, maybe your department prefers that you use Python, or maybe R, or maybe it is a flexible place and you can use both. Python is free and so is R, but there is also a commercial version of R that is expensive. You also have to consider how your company views open-source software—do they approve of that or not? If you end up working for a bank or government, don’t be surprised if you end up using something like SAS.

What Should You Learn Next?

  • ANOVA (Analysis of Variance): For comparing means across more than two groups. Example: Comparing test scores across three teaching methods.
  • Correlation & Simple Linear Regression: Correlation measures how two variables move together; regression predicts one variable from another (e.g., predicting height from age).
  • Chi-Square Tests: For categorical data—tests if distributions differ from expected (e.g., is there an association between gender and voting preference?).
  • Confidence Intervals: Learn how to estimate a range for means, proportions, etc., not just a single value.
  • Non-parametric Tests: For data that doesn’t meet t-test/ANOVA assumptions (e.g., Mann-Whitney U, Wilcoxon, Kruskal-Wallis).

Mastering these will give you a solid foundation for most undergraduate statistics and data analysis tasks!


Posted in Statistics Data Analysis | Comments Off on Statistical Hypothesis Testing and p-values Explained Simply

cloning a speaker badge by 3d printing it

Posted on January 1, 2026 by ray kodiak

So one of the speaker badges is missing, that’s how it came and maybe this was good, because without this issue, I would have never developed this program. Yes the test was printed in white cuz that’s what was loaded in the 3d printer, later will print it in black and use a Gold pen to paint it, I am also going to clean up the mark a bit more – this was done quickly for a proof of concept test.

But basically you take a picture of the badge with your phone and select it in my program and generate a mask / then if the source is not clean, you can also clean the mask up, and once ready you just press Next to generate the .stl file for your favorite slicer program, I use CURA.

I would just watch the video, I literally made that after finishing to program the code.

Just watch the video, right now I haven’t decided to what to do with the program beyond making it for my private use.

Posted in Uncategorized | Comments Off on cloning a speaker badge by 3d printing it

BRYSTON 3B Amp and 0.04B Pre-Amp

Posted on November 27, 2025 by ray kodiak

The Bryston 3B power amplifier and 0.4B preamp are one of those classic combinations that feel purpose-built for people who care more about honest sound than flashy features. Together they come across as clean, confident, and very controlled, especially if you like listening at realistic volumes with speakers that appreciate a solid grip from the amp. This pairing leans more toward neutrality and transparency than warmth, so recordings tend to sound like themselves rather than being smoothed over or “sweetened.”

In use, the 3B has that immediately obvious sense of authority that makes speakers lock in and behave. Bass is taut and punchy without ever getting boomy, and there’s a strong feeling of control that really shows up on complex material like dense rock or big orchestral passages. The midrange stays clean and open, making vocals and guitars easy to follow without pushing them in your face, while the top end has plenty of extension and air but avoids the kind of etched brightness that gets fatiguing over time. It feels like the amp is just cruising most of the time rather than straining.

The 0.4B preamp slots in as a straightforward, no-drama control center that complements the 3B’s character. Its layout is simple and functional, with controls that feel solid and purposeful instead of gimmicky. With the controls set flat, it largely gets out of the way, letting the 3B do its thing, but the tone and balance options are handy for nudging a bright recording down a notch or giving slightly lean material a bit more body. Noise levels are low enough that quiet passages feel genuinely black in the background, which adds to the sense of resolution and space.

As a pair, the 3B and 0.4B deliver a sound that is very much about accuracy, dynamic swing, and long-term listenability. They do an especially nice job with real instruments and well-recorded vocals, where you notice the separation between parts and the stability of the stereo image. If you like a heavily romantic or tube-like presentation you might find them a bit on the honest side, but if the goal is to hear what’s actually on the recording, this combo is very satisfying. They also have that solid, old-school build that makes them feel like serious tools rather than disposable gadgets.

Technical notes on the 3B (approximate/classic-spec style, not marketing fluff):

  • Solid-state, class AB stereo power amplifier.
  • Rated around 100–120 watts per channel into 8 ohms, roughly doubling into 4 ohms, with the ability to be bridged for high-power mono operation.
  • Wide bandwidth design reaching from well below 20 Hz to well above 20 kHz, with low distortion figures across the audible band.
  • High damping factor (typically in the hundreds at 20 Hz), which contributes to the tight, controlled bass and firm grip on most loudspeakers.
  • High slew rate on the order of tens of volts per microsecond, supporting fast transient response and clean handling of complex waveforms.
  • Input sensitivity around 1–2 V for full rated output, with line-level input impedance set high enough to be an easy load for most preamps.

I experimented with different speakers and it sounds very good, but right now I paired it with my EPOS ES-14 with my custom tweeter baffles and it’s great!!

The Bryston 3B and EPOS ES-14 make a very natural “old-school audiophile” pairing that feels bigger and more expensive than it looks on paper. The 3B brings control, grip, and drive, while the ES-14 answers back with that open, tuneful midrange and agile bass the speakers are known for, so the combination ends up sounding lively but still refined.

System character

With the EPOS ES-14 on proper stands and a bit of space from the rear wall, the 3B gives them exactly the kind of current and damping they like. Bass lines feel tight and rhythmic rather than soft or bloated, which really helps rock, electronic, and anything with real drums lock in time. The ES-14’s midband clarity works hand in hand with the 3B’s clean, low‑grain presentation, so vocals sit right in the pocket: present, textured, and easy to follow at low or high levels.

Highs come through detailed and airy, but the 3B’s composure keeps things from turning edgy on brighter mixes, which can sometimes be a risk with revealing stand‑mounts. Imaging is one of the fun parts of this combo; the ES-14 already images well when set up correctly, and the 3B’s channel separation and control help throw a stable center image with believable width and depth. It ends up being one of those setups where you can sit and pick apart a mix, but you can also just lean back and enjoy whole albums without fatigue.

Why they match well

The classic ES-14 design is a relatively easy load, using a minimalist crossover and a ported cabinet that can even be damped with foam if you want a more overdamped, sealed‑box style bass alignment. That simplicity means a clean, stable amplifier like the 3B can really show off what the speaker can do dynamically and in terms of detail retrieval, without fighting nasty impedance swings or crossover complexity.

On the flip side, the ES-14’s sensitivity and impedance characteristics mean the 3B is rarely pushed hard in a normal room, so the amp spends most of its life operating in its comfort zone, where distortion and noise are very low. The result is a system with real “jump factor” on transients but a low background noise floor, so quiet details and reverb tails stay clearly audible between the big dynamic hits.

Posted in Uncategorized | Comments Off on BRYSTON 3B Amp and 0.04B Pre-Amp

Your Ears Need Time: The Hidden Psychology of Getting Used to New Speakers

Posted on October 22, 2025 by ray kodiak

When you first listen to a new pair of speakers, it’s common to feel unsure about how they really sound. The highs might seem too sharp, the bass too heavy, or the stereo image oddly narrow. Then, about half an hour later, something changes—not in the hardware, but in your brain. The music starts to sound more natural, balanced, even enjoyable. This shift isn’t your imagination; it’s a psychological and physiological process known as auditory adaptation.

Understanding Auditory Adaptation

The human auditory system is remarkably adaptable. When exposed to a new acoustic environment—like switching to different speakers—your brain gradually recalibrates how it interprets frequencies, timbre, and spatial cues. Initially, your perception is colored by the sonic “memory” of your previous setup. Those memories act as a reference point, and it takes time for the brain to let go and update to the new audio signature.

Think of it like stepping from sunlight into a dim room. At first, you can hardly see, but after a few minutes, your eyes adjust. Your ears work much the same way, fine-tuning sensitivity to balance and tone until the new soundscape feels “right.”

The Role of Expectation and Bias

Expectation plays a major role in early listening impressions. Knowing a speaker’s brand, price, or reputation can unconsciously set your judgment before a single note is played. The first few minutes are often a blend of these cognitive biases and your previous auditory experiences. As your mind settles, those biases fade, and a clearer impression of the sound emerges.

The Time Factor

Most listeners experience meaningful adjustment around the 20–30 minute mark. During this window, the brain reduces its comparisons to the old reference and starts forming a new baseline. That’s why seasoned audio engineers often recommend listening for extended periods before making tonal judgments or equipment evaluations.

Why It Matters

Recognizing this phenomenon transforms how we evaluate sound. Instead of rushing to conclusions, giving yourself time to adapt ensures a more accurate and fair perception. Whether you’re testing new studio monitors, home audio speakers, or a freshly tuned car system, patience allows your brain to sync with the sound.

In the end, your ears are powerful—but your brain is the real engineer behind what you hear. The next time new speakers sound “off,” remember: they might not need to break in—your mind does.

Posted in Speakers, Vintage Audio | Comments Off on Your Ears Need Time: The Hidden Psychology of Getting Used to New Speakers

BIAS and DC Offset – Audiophile terms everyone should understand

Posted on October 21, 2025 by ray kodiak

Lots of people who are into music, have impressive systems and been in this hobby for a long while don’t know basic electronics or even how a transistor works, but this is an important subject because they amplify the audio we seek!

First, the BIAS!

Imagine how an amplifier works:

An amplifier takes a tiny signal (like the small sound from a microphone) and makes it big enough to drive speakers.

But there’s a problem: that tiny signal swings positive and negative (like a wave that goes above and below zero volts, a sine wave).

⸻

Why DC voltage is introduced:

If we fed that little wave directly into a transistor (the “muscle” of the amplifier), it wouldn’t work well. Why ?

Because transistors don’t handle signals that cross zero naturally — they need to be “awake” first.

So engineers add a small steady DC voltage, called a bias voltage, to the transistor.

This bias sets the transistor in its active zone, like giving it a small push so it’s ready to respond instantly to the music signal. Tube amps also work in similar ways with nuances specific to tubes.

⸻

In plain terms:

  • Think of the transistor like a door that needs to be cracked open slightly so it can swing both ways easily.
  • The DC bias is what keeps that door slightly open.
  • The music signal is the thing that pushes the door back and forth.
  • Without the bias, the door would stay shut half the time — and you’d only get half your sound wave (which would sound awful and distorted).

⸻

Now onto DC OFFSET:

The DC offset in a sine wave represents a constant added voltage level, which shifts the whole waveform up or down. This does not change the sine wave’s shape, so a signal with DC offset will still look like a regular sine wave but shifted vertically.

DC offset is an unwanted DC voltage that appears at the amplifier’s output even when there is no input signal. If you use a multimeter and set it to DC Voltage, you will see it at the output of the terminals going to your speakers, even when nothing is connected to it and no music input.

Instead of the output waveform resting at zero volts, it gets pushed either above or below this zero line.

This shift means the speaker cones are pushed away from their neutral position even when no sound is playing <– very dangerous!

⸻

Why DC offset matters:

A significant DC offset can cause distortion, cause speaker damage over time or quickly, and produce unwanted noises such as pops or clicks when powering the amplifier on or off.

It also wastes amplifier power and can reduce sound quality.

⸻

How does it relate to BIAS?

While BIAS is the intentional DC voltage applied inside the amplifier to keep transistors in their best operating region, DC offset is often a byproduct of improper bias or mismatched components.

If the bias current through output transistors is too high or too low, it can cause a DC offset voltage at the output.

Thus, bias sets the operating conditions internally, and DC offset is an external symptom that something may be off inside.

Summary:

  • DC BIAS ensures the amplifier’s active components are “ready” and linear so the music signal can be faithfully amplified without distortion or clipping.
  • DC offset is an unwanted DC voltage appearing at the output that can damage speakers and degrade sound quality.
  • When troubleshooting amps experiencing sound issues, check bias if the amp heats excessively or distorts, and check DC offset if there are pops, clicks, or speaker damage concerns.
  • You will also be able to physically see the pops in the speaker driver, a positive DC offset will move the speaker forward and negative suck it in backwards, without any input signal, this is really bad to see – another good reason to have test speakers you won’t mind loosing or breaking – until the amp is fixed or adjusted.
  • Often you need to check and adjust both, since improper bias can cause DC offset problems, and a drifting DC offset can indicate bias or component issues.

Understanding both concepts and their relationship is key to maintaining good audio fidelity and longevity of your sound system.

This combined explanation should help anyone in the music hobby understand why bias and DC offset matter, how they differ, and when to look at each to fix amplifier issues.

Posted in Vintage Audio | Comments Off on BIAS and DC Offset – Audiophile terms everyone should understand

MK S-80 Satellite Speakers Review: Classic High-Fidelity Sound

Posted on October 12, 2025 by ray kodiak

Discover the legendary MK S-80 Satellite speakers from Miller & Kreisel, known for unmatched clarity, dynamic range, and studio-quality sound in a compact design:

The MK S-80 Satellite speakers are a celebrated example of Miller & Kreisel’s commitment to high-fidelity sound in a compact form. These 4-ohm speakers are well-known among audiophiles for their incredible transient accuracy, wide dynamic range, and transparent midrange—making them a favorite for both music and home theater setups.

Despite their small size, S-80 Satellites deliver precise, uncolored sound, excelling at reproducing the true character of both recordings and live performances. They were engineered with phase-coherent crossovers and matched drivers, resulting in balanced imaging and linear response—qualities that help the music shine as the artist intended.

Early M&K systems like these set the standard for pairing satellites with subwoofers, ensuring the speakers focus on accurate upper frequencies while leaving deep bass to a dedicated subwoofer.

The S-80 speakers offer tunable inputs—High Efficiency or Low Efficiency—allowing users to optimize tonal balance and volume depending on their amplifier and listening space. Power-hungry by design, they reward pairing with a quality amplifier and careful setup. Overall, the MK S-80 Satellite speakers carve out a special niche for listeners who value detailed, honest reproduction—bringing a studio monitor ethos into living rooms everywhere.

Posted in Speakers, Vintage Audio | Comments Off on MK S-80 Satellite Speakers Review: Classic High-Fidelity Sound

USHER S520 mini-monitor speakers / A British speaker out of Taiwan ?

Posted on September 10, 2025 by ray kodiak

I picked these up for $300 with stands in the local market place. For the piano black finish, I saw a pair for about $700 with shipping and tax on ebay, and these came with stands too which I will sell for $100 to get my total price down to $200 which is not too shabby.

Being an audiophile for about 10 years, I have heard not all, but many good speakers and many British ones that I also own, and the mid-range is just beautiful with not excessive, but good tight Bass! It can use a good sub-woofer to help fill the low end, but please use a good one, made for music, mine is a EPOS ELS Subwoofer and they pair magically good!

I was and am still impressed, this will stay in my collection!

The Usher S-520 was co-designed by Dr. Joseph D’Appolito (USA) and founder Tsai Lien-Shui (Taiwan). The model was directly inspired by classic British mini-monitors, with the build and voicing modeled after the famous BBC LS3/5A and Celestion 3—renowned UK speakers known for their compact form factor and musical accuracy.

Design and Modeling Inspiration

  • The S-520 is explicitly a homage to British studio and consumer monitors, specifically the LS3/5A and small Celestion and Epos speakers.
  • Its sound signature—lush mids, precise imaging, and compact, rigid cabinet—draws from British engineering ideals: neutrality and musicality over exaggerated bass.
  • The proprietary “Symme-Motion” driver design (with careful attention to suspension and magnetic symmetry) was developed specifically for this monitor by Usher, not copied from a particular UK driver, though the sound target is the British mini-monitor tradition.

Drivers

  • Uses an in-house Usher-designed 5″ polypropylene woofer and a 1″ silk-dome tweeter made in Taiwan but tailored by D’Appolito for the S-520.
  • The crossover was also tuned to British standards for phase and tonal accuracy.
  • These designs were not licensed from British companies but come from Usher’s own manufacturing, aiming to replicate the appeal of iconic UK monitors for a wider audience.

British Speaker References

  • Directly compared to and modeled after the Celestion 3 and BBC LS3/5A in reviews and technical discussion.
  • Several reviewers and designers note the “British sound” of the S-520—focused, revealing, and musical.
Posted in Speakers | Comments Off on USHER S520 mini-monitor speakers / A British speaker out of Taiwan ?

fixing HEX heat exchanger error on original PICO Brew machine

Posted on September 3, 2025 by ray kodiak

One of the things that I like about these machines is that they are fairly accurate and brew good consistent repeatable beer, as long as your recipe is sound… and sure while their later models are better like the Z1, these are still sound machines and worth keeping and brewing.

One of the most common type of error that you will get with these machines is a HEX error, where basically there is air trapped in the heat-exchanger, and the temperature sensor will detect a big temperature differential and the machine will start to make noise and the program will end, this will happen fairly fast once you start a Brew program.

I was told that in the beginning the company just put water into these units, but the machines would freeze in colder climates, so later they changed to using glycol. I just used water, but some people prefer glycol. Botton line is, if water/gycol ever leaks out and air gets introduced into the HEX, the error will come back. The Z1 machines have the pumps and all at the top of the machine, so it is much easier to get to it, you just remove the top and you have much quicker and easier access to it, but with these original machines, the pumps, boiler and heat-exchanger are actually at the bottom of the machines.

I am attaching a doc that was shared with me from the FB Group:

https://kodiakbrewing.com/wp-content/uploads/2025/09/Zymatic-Glycol-Loop.pdf

I’ve also recorded some of it when I was actually working on it and here that YouTube video:

cheers!

Posted in Beer Brewing Equipment | Comments Off on fixing HEX heat exchanger error on original PICO Brew machine

B&K Ex-442 Amplifier – Power PCB Upgrade Boards now available!

Posted on June 30, 2025 by ray kodiak

My main amp of choice right now is the B&K Ex-442. I have upgraded the main filtering caps to brand new ones and even upgraded the rectifier Bridges to support higher inrush currents better (yes, I keep the old parts).

But one thing always bothered me, and that was the power circuit PCB board that sit on top of the filter capacitors, there is two of them, one for each channel as this is a dual-mono block in one box design with a shared toroidal transformer.

Also, these are the types of moments that really lead to new opportunities, because this is not the first example! Like creating a 3D baffle for the EPOS ES-14 because the original tweeters fried.

So this got me back into the game of CAD design, I used to make these by hand when I was a kid, so I never used any software.

The software of choice, I wanted that to be open-source / and it if is good enough, I will use it, I am tired of jumping through corporate hoops for Corporate products with their licensing and any possible change to what they offer, even free community versions.

Anyways with that I used KiCAD, and yes there was some learning curve, honestly there isn’t many good videos on YouTube for beginners, or at least I couldn’t find any. So in this case, I actually used AI to help me… and by that I mean, you know: How do you do this, how this and that and how to you change that, after about 7-10 questions and try and error, I had all the knowledge to do this.

I eventually also met with another KiCAD user who showed me around a lot and the ropes of KiCAD and that is to understand the relationship between the Schematic and PCB modes, as these are highly related.. his Blog is here: https://lensprojects.com/

Video of Install:

and Video describing the boards specifically new vs. old..

Contact me, if you want these – https://kodiakbrewing.com/contact-me/ Cheers! Ray.

Posted in Vintage Audio | Comments Off on B&K Ex-442 Amplifier – Power PCB Upgrade Boards now available!

Chario Piccolo Satellite Speaker

Posted on June 11, 2025 by ray kodiak

Recently I have acquired some new to me Brand of speakers – Chario, model is Piccolo which are small satellite speakers… The are hand made in Italy (whatever that even means), and sounds very good for their small size, below is a sample of their capabilities…

To be honest, even those these are very good speakers, they just didn’t have enough magic for me and I sold them, stick to my trusty EPOS 🙂

Cheers!

#chario #piccolo

Posted in Vintage Audio | Comments Off on Chario Piccolo Satellite Speaker

A Comparison of the Epos ES11 and ES12 Loudspeakers

Posted on March 16, 2025 by ray kodiak

Left (ES11) ~~ Right (ES12)

Epos, a British loudspeaker manufacturer, is known for its minimalist design philosophy and focus on transparency and musicality. The ES11 and ES12 models are compact two-way speakers that share some design principles but differ in technical specifications and sound characteristics. Below is a detailed comparison of these two models, with their technical specifications presented in a side-by-side table.

Technical Specifications Comparison

FeatureEpos ES11Epos ES12
TypeTwo-way, vented-box designTwo-way, reflex-loaded design
Drivers6.5-inch cone woofer, 1-inch dome tweeterPlastic-cone woofer, 1-inch metal-dome tweeter
Frequency Response60 Hz to 20 kHzSlightly extended bass compared to ES11
Sensitivity87 dB at 1 meter (2.83 V rms applied)Approximately 87 dB
Impedance8 ohms nominal8 ohms nominal
CrossoverMinimalist design with a single capacitor for the tweeter; no crossover for the wooferRedesigned crossover with improved integration between drivers
Recommended Amplifier Power25–75 watts per channel25–75 watts per channel
Dimensions (H x W x D)14.75″ x 8.375″ x 9.875″ (37.5 cm x 22 cm x 25 cm)Similar dimensions; slightly larger cabinet
Weight17.6 lbs (8 kg) eachSlightly heavier due to larger cabinet
FinishVinyl wrapReal wood veneer

Sound Characteristics

Epos ES11

The ES11 is praised for its precise imaging and refined sound, particularly in the midrange and upper frequencies. Its minimalist crossover design enhances transparency but can result in a slightly bass-shy performance, making it less suitable for bass-heavy genres without a subwoofer. The speaker excels in smaller rooms or near-field listening setups, where its imaging capabilities shine.

Epos ES12

The ES12 builds upon the ES11’s strengths by offering fuller-bodied sound with deeper bass and enhanced dynamic range. While it retains precise imaging, the midrange can sometimes sound nasal depending on room acoustics or placement. It is better suited for larger spaces compared to the ES11.

Key Differences Between Epos ES11 and ES12

FeatureEpos ES11Epos ES12
Bass ResponseLimited, bass-shyFuller-bodied, deeper bass
Sound ProfilePrecise imaging, refined soundDynamic range, fuller sound
Tweeter TypeMetal domeMetal dome
Design FeaturesMinimalist crossoverImproved crossover integration, but basically still Minimalist crossover
Ideal Listening EnvironmentSmaller roomsLarger spaces

Conclusion

The Epos ES11 and ES12 are excellent examples of minimalist speaker design focused on transparency and musicality. The ES11 excels in imaging and midrange clarity, making it ideal for smaller rooms or near-field listening setups. On the other hand, the ES12 offers a fuller-bodied sound with deeper bass and enhanced dynamic range, making it better suited for larger spaces or listeners who prefer more impactful low frequencies.

Choosing between these two models depends on your listening preferences and room size:

  • Opt for the ES11 if you prioritize precision and clarity in smaller spaces.
  • Choose the ES12 if you need fuller sound with better bass response for larger environments.

Both models require high-quality amplification to perform at their best, staying true to Epos’s ethos of delivering uncompromised audio performance.

Posted in Vintage Audio | Comments Off on A Comparison of the Epos ES11 and ES12 Loudspeakers

The Importance of Amplifier Quality in Music Systems: Spotlight on Hi-Fi and B&K Amplifiers

Posted on March 15, 2025 by ray kodiak

Amplifiers are the backbone of any high-quality music system, ensuring that speakers perform at their best by delivering clean, precise power. While speakers are the primary drivers of sound quality, the amplifier’s role in maintaining signal fidelity and dynamic range is crucial. This article focuses exclusively on music amplifiers, avoiding guitar amps, and highlights British brands alongside B&K amplifiers.

Why Amplifier Quality Matters

  1. Signal Fidelity
    Hi-fi amplifiers are designed to reproduce audio signals with minimal distortion or coloration, preserving the original recording’s integrity.
  2. Power and Dynamics
    High-quality amplifiers provide sufficient power to drive speakers effectively, especially for demanding setups. They ensure stable performance across varying volumes and dynamic shifts.
  3. Impedance Matching
    Proper impedance matching between the amplifier and speakers optimizes power transfer and prevents distortion or equipment damage.
  4. Frequency Response
    A good amplifier ensures balanced reproduction across all frequencies, contributing to a full and immersive listening experience.
  5. Soundstage and Imaging
    Amplifiers play a role in creating a realistic soundstage, allowing listeners to perceive spatial details in the music.

British Hi-Fi Amplifiers: A Tradition of Excellence

British audio brands are renowned for their meticulous craftsmanship and balanced tonal characteristics. Here are some notable options:

  • Naim Audio: Known for its rhythmically engaging sound, Naim amplifiers like the Supernait 3 deliver dynamic performance with excellent bass control and upgrade potential.
  • Cambridge Audio: Models like the CXA81 offer detailed sound with wide compatibility, making them a popular choice for audiophiles seeking versatility.
  • Rega: The Elex Mk4 is celebrated for its musicality and articulate sound reproduction, ideal for mid-range hi-fi setups.
  • Roksan: The Caspian M2 provides rich tonality and dynamic sound, paired with robust build quality suitable for long-term use.
  • Chord Electronics: High-end amplifiers like the Ultima series exemplify engineering excellence with transparent sound reproduction.

B&K Amplifiers: Precision Meets Musicality

B&K Components has established itself as a reliable name in hi-fi amplification. Their products are known for their robust design and detailed sound signature:

  • B&K ST-140: A classic solid-state amplifier praised for its ability to retrieve low-level detail with clarity. It offers a lean sound profile that works well with systems needing precision but may feel cold in certain setups.
  • B&K Sonata M-200: These mono block amplifiers excel at driving difficult speakers like Martin Logan electrostatics, offering refined bass performance and articulate midrange reproduction. Their design supports passive cooling, ensuring durability during extended use.

B&K amplifiers are ideal for audiophiles seeking accuracy and musicality at accessible price points. However, careful pairing with speakers is essential to avoid accentuating their somewhat clinical sound profile.

More specifically the two amps I really love from B&K are the 125.2 (I own two) and the Ex-442.

A Report on the B&K 125.2 and EX-442 Stereo Power Amplifiers

B&K Components has long been recognized for producing high-quality stereo power amplifiers that deliver excellent sound performance at reasonable price points. This report focuses on two notable models: the B&K Reference 125.2 and the EX-442, analyzing their specifications, sound characteristics, and legacy in the audiophile community.

B&K Reference 125.2

Specifications

  • Power Output: 125 watts per channel into 8Ω; 185 watts per channel into 4Ω[5].
  • Peak Current: 30 amps[5].
  • Dynamic Headroom: 1.2 dB[5].
  • Inputs: Both XLR (balanced) and RCA (unbalanced)[1].
  • Design: Known for its smooth, warm sound typical of B&K amplifiers[7].

Sound Characteristics

The Reference 125.2 is praised for its smooth and warm tonal profile, making it ideal for music lovers seeking a relaxed yet detailed listening experience. Its ability to handle dynamic shifts with ease ensures that it performs well across various genres, from classical to rock. The amplifier runs relatively cool during operation, which contributes to its reliability and longevity[7].

Usage and Compatibility

This amplifier pairs well with mid-range speakers like KEF LS50s, as noted by users who appreciate its ability to drive demanding loads without distortion[1]. Audiophiles recommend using a high-quality preamp with the Reference 125.2 to avoid compromising its sonic potential[1].

Legacy

The Reference 125.2 remains a popular choice among budget-conscious audiophiles due to its performance-to-price ratio. It is often recommended as an entry point into high-fidelity audio systems, providing a taste of premium sound without breaking the bank.

B&K EX-442

Specifications

  • Power Output: 200 watts per channel into 8Ω; 350 watts per channel into 4Ω[2][8].
  • Frequency Response: 20Hz to 20kHz[2].
  • Peak Current: Up to 75 amps, offering exceptional dynamic capability[4].
  • Output Design: MOSFET-based output stage for smoother sound reproduction[8].
  • Build Features: Dual transformers (Sonata version), internal heat sinks, and optional XLR inputs for balanced connections[4].

Sound Characteristics

The EX-442 is celebrated for its powerful yet refined sound signature. It delivers robust bass performance, articulate mids, and smooth highs, making it suitable for both music enthusiasts and critical listeners. Its high peak current capability allows it to handle demanding speakers like Polk SDA-SRS models with ease[4]. The amplifier’s MOSFET output stage contributes to its warm and natural tonal characteristics.

Usage and Modifications

Users have reported modifying the EX-442’s power supply and capacitors to further enhance its performance. Adding high-quality film capacitors in parallel with electrolytic capacitors can improve transient response and overall clarity[2]. This amplifier is versatile enough for use in both professional and home audio setups.

Legacy

The EX-442 has been a mainstay in many audiophile systems since its introduction in the mid-1980s. Its robust design and excellent performance have ensured its longevity, with many units still in active use today. Owners often describe it as a “workhorse” amplifier capable of delivering consistent performance over decades[2][4].

Comparison of B&K Reference 125.2 vs EX-442

FeatureB&K Reference 125.2B&K EX-442
Power Output125WPC @ 8Ω; 185WPC @ 4Ω200WPC @ 8Ω; 350WPC @ 4Ω
Peak Current30 ampsUp to 75 amps
Sound ProfileSmooth and warmPowerful yet refined
Input OptionsXLR & RCAOptional XLR & RCA
Ideal Use CaseMid-range speakersDemanding speaker setups
LegacyEntry-level hi-fiLong-standing workhorse

B&K Conclusion

Both the B&K Reference 125.2 and EX-442 amplifiers exemplify B&K’s commitment to delivering high-quality sound at accessible price points. The Reference 125.2 is ideal for those seeking a smooth, musical experience with mid-range speakers, while the EX-442 offers greater power and dynamic capability suited for more demanding setups.

For audiophiles looking to invest in reliable amplifiers with proven track records, these models represent excellent choices that continue to hold their value in the hi-fi community. Whether you prioritize warmth or power, B&K’s amplifiers deliver performance that stands the test of time.

Sources
[1] How good a deal is this B&K Components LTD Reference S2 125.2 … https://www.reddit.com/r/BudgetAudiophile/comments/zbun5g/how_good_a_deal_is_this_bk_components_ltd/
[2] BK Components EX-442 Stereo Power Amplifier Manual | HiFi Engine https://www.hifiengine.com/manual_library/bk-components/ex-442.shtml
[3] B&K Reference 125.2 S2 Stereo Power Amplifier – The Music Room https://tmraudio.com/components/power-amplifiers/b-k-reference-125-2-s2-stereo-power-amplifier/
[4] B&K EX-442 and ST-202+ Different – Polk Audio Forum https://forum.polkaudio.com/discussion/177349/b-amp-k-ex-442-and-st-202-different
[5] B&K Reference 125.2 Series II User Manual – ManualsLib https://www.manualslib.com/manual/423424/BAndk-Reference-125-2-Series-Ii.html
[6] B&K Components EX-442 Sonata Power Amplifier – The Rocket https://www.theonlinerocket.com/b-k-components-ex-442-sonata-900w-power-amplifier-fully-run-tested-RUVBGEBbU1hcXFxc
[7] B&K ST 125.2 Amplifier – Polk Audio Forum https://forum.polkaudio.com/discussion/183178/b-k-st-125-2-amplifier
[8] B & K EX-442 Sonata Series Owners Manual https://forum.audiogon.com/discussions/b-k-ex-442-sonata-series-owners-manual

Overall Final Conclusion

The quality of an amplifier is integral to achieving optimal sound from any music system. British brands like Naim, Cambridge Audio, Rega, and Roksan emphasize tonal precision and craftsmanship, while B&K amplifiers stand out for their power delivery and detail retrieval. When selecting an amplifier, consider its compatibility with your speakers’ impedance and sensitivity ratings to ensure synergy within your setup. Investing in a high-quality amplifier will elevate your listening experience by bringing out the best in your music collection.

Posted in Vintage Audio | Comments Off on The Importance of Amplifier Quality in Music Systems: Spotlight on Hi-Fi and B&K Amplifiers

comparing the EPOS ES11 vs. ES14 with YouTube video

Posted on March 9, 2025 by ray kodiak

The Epos ES11 and ES14 speakers are two iconic models from the British audio brand Epos, which gained prominence in the 1980s for its minimalist yet innovative speaker designs. Below is a comparison of the two models, along with their historical context.

Historical Context

Epos was founded in the early 1980s and quickly became known for its purist approach to speaker design. The ES14 debuted as a groundbreaking model that set new standards in mid-priced hi-fi speakers. It was later joined by the smaller and more affordable ES11.

The model number can be confusing thinking the ES11 came first, but quite the opposite is true.

Both models were celebrated for their exceptional sound quality, achieved through clever engineering solutions like ultra-simple crossover networks and highly developed drivers. These speakers carved out a niche in the British hi-fi market during the 1980s and 1990s, becoming staples for audiophiles of the era[1][2][5].

Over time, Epos underwent several ownership changes, which led to newer designs that never quite captured the magic of the original models. The brand faded from prominence until its recent revival under Karl-Heinz Fink, who has modernized the ES14 as the ES14N while retaining its core design principles[1][2].

Key Differences Between the ES11 and ES14

FeatureEpos ES11Epos ES14
SizeCompact two-way standmounterLarger two-way standmounter
DriversSmaller mid/bass driver (approx. 16 cm)Larger 18 cm mid/bass driver
Crossover DesignMinimalist (single capacitor)Minimalist but slightly more complex
Bass PerformanceLimited bass extensionBetter bass extension due to larger driver
Sound ProfilePurer tonality, suited for smaller spacesMore dynamic and authoritative sound
Historical RoleAffordable entry into high-end audioBenchmark for mid-priced hi-fi speakers

Design Philosophy

Both models shared a minimalist design ethos. The ES11 used a natural roll-off for its woofer and a single capacitor for its tweeter crossover, maximizing transparency. Similarly, the ES14 employed a simple crossover but offered more robust performance due to its larger size and driver[5][6].

Performance

The ES11 was praised for its tonal purity and suitability for smaller spaces or nearfield listening. In contrast, the ES14 delivered greater dynamics, bass depth, and overall authority, making it ideal for larger rooms or more demanding setups[7].

Legacy

While both models were eventually succeeded by newer designs, they remain cherished by audiophiles. The ES14, in particular, has been reimagined as the modern ES14N, incorporating advances in speaker technology while honoring its heritage[1][2].

In summary, the Epos ES11 and ES14 catered to different needs within the same minimalist philosophy. The ES11 appealed to those seeking compact excellence, while the ES14 offered a more commanding presence and broader performance capabilities. Both models continue to hold a special place in hi-fi history.

Sources
[1] Epos ES14N review – Speakers – What Hi-Fi? https://www.whathifi.com/reviews/epos-es14n
[2] Revitalised Epos resurrects legendary ES14 speakers … – What Hi-Fi? https://www.whathifi.com/news/revitalised-epos-resurrects-legendary-es14-speakers-with-a-modern-twist
[3] Archives: Articles – Hi-Fi+ https://hifiplus.com/articles/page/15/
[4] Where does the Epos ES14 stand vs modern equivalents? https://community.naimaudio.com/t/where-does-the-epos-es14-stand-vs-modern-equivalents/1092
[5] Epos ES12 loudspeaker – Stereophile.com https://www.stereophile.com/standloudspeakers/497epos/index.html
[6] Epos ES-11 to Epos M12.2 ? – ecoustics.com https://www.ecoustics.com/electronics/forum/home-audio/309152.html
[7] Epos es11 or es 14 – Hi-Fi 4 Sale https://www.hifi4sale.net/t13624-epos-es11-or-es-14
[8] Epos Acoustics ES11 – Audiophillness.com https://audiophillness.com/epos-es11-sn15151/

Posted in Speakers, Vintage Audio | Comments Off on comparing the EPOS ES11 vs. ES14 with YouTube video

Quick Restoration of a Yamaha CD-30 (August 1997) – Japan

Posted on January 24, 2025 by ray kodiak

New CD Players that sound good, meaning Audiophile quality sound or close to it, also cost a lot of money, even when you adjust for any inflation comparing costs in the 80s vs now / anyways, I think many are simply too expensive.

You can get a much better deal buying used if you are willing to take some small risks and you are handy with some analysis and repair.

below is my YouTube video showing the Repair, in my case it was just to clean the old belts and install 2 new ones – that’s it.. after that everything worked.

In my case, I found this CD player for $8 and bought 2 new belts for $12 / so the total cost was about $20.. It has a great DAC chip (Burr-Brown PCM56P DAC).

these CD players are still relatively cheap on Ebay, but it is a risk that you would have to take, maybe needing just the belts replaced for the most part and maybe some additional lubrication.

Reviving the Past: The Benefits of Restoring Older CD Players

In an era dominated by digital music streaming services, it’s easy to overlook the joys of owning and playing physical media, particularly CDs. However, for those who cherish their vinyl collections or have fond memories of listening to CDs in the past, restoring an older CD player can be a great way to breathe new life into these beloved devices.

The Benefits of Restoring Older CD Players

While buying a new CD player may seem like an attractive option, there are several benefits to restoring an older one. Here are some reasons why:

  • Environmental Benefits: Buying a new CD player requires resources and energy, contributing to waste and pollution. By restoring an older unit, you’re giving new life to a device that would otherwise be discarded.
  • Cost-Effective: Restoring an older CD player can be significantly cheaper than buying a brand-new one. This is especially true if the original unit was purchased at a lower price point or has been well-maintained over the years.
  • Collectibility and Sentimental Value: For music enthusiasts who collect vintage CDs, restoring an older CD player can be a labor of love. It allows you to preserve memories associated with the device and its original use case.
  • Repairing and Upgrading: Restoring an older CD player provides an opportunity to repair any issues or upgrade the unit’s components. This ensures that the device continues to function optimally, providing years of reliable service.

The Process of Restoring an Older CD Player

Restoring an older CD player requires some technical knowledge and patience. Here are the general steps involved:

  1. Assess the Condition: Evaluate the condition of the unit, including any cosmetic damage or mechanical issues.
  2. Disassemble and Clean: Carefully disassemble the device to clean out dust, dirt, and other debris that may be affecting its performance.
  3. Replace Damaged Components: Replace worn-out or damaged parts with new ones, such as capacitors, resistors, or ICs.
  4. Refurbish the Unit’s Exterior: Clean and refurbish the unit’s exterior to restore its original appearance.

Conclusion

Restoring an older CD player can be a rewarding experience for music enthusiasts who value nostalgia and preservation. Not only does it offer environmental benefits and cost-effectiveness, but it also provides an opportunity to repair and upgrade the device to extend its lifespan.

Posted in Vintage Audio | Comments Off on Quick Restoration of a Yamaha CD-30 (August 1997) – Japan

EPOS m22 speakers!

Posted on November 5, 2024 by ray kodiak

A new addition to my equipment collection! These sold originally for $1,995 + tax + shipping, but I managed to find them locally for $400 used / they come with their metal grills, but I took them off for listening – they are great for protecting these while not used or when moving!

Extremely well build, solid cabinets that pass the knock test!

Speaker: M22
Type: Two-and-a-half-way, tower
Tweeter (size in inches, type): 1, gold anodized aluminum alloy dome
Midrange (size in inches, type): 6, polymer cone 5.25
Woofer (size in inches, type): 6, polymer cone
Nominal Impedance (ohms): 6


Recommended Amp
Power (watts): 50–200
Available Finishes: Light/Dark Cherry, Black
Dimensions (H x W x D, inches): 36 x 8 x 10
Weight (pounds): 37.4
Original Price: $1,995/pair

I paired them with a B&K 125.2 amp / sometimes I switch and listen using the B&K EX-442 amp (if you ever find this, grab it fast!) – anyways, both are excellent amps!

I do have the EPOS ELS Subwoofer installed, so it is paired with that as well… I was lucky enough to find that one day in the market-place for $150 / extremely well build sub-woofer specifically made for music!

These speakers shine with Jazz, and other instrumentals, Classical, and Voice!

I have to admit that I am already used to the EPOS sound since I own 6 other speakers in my collection and these don’t disappoint, very well made, high quality with excellent drivers!

You will not find anything like that made today within any price range!

So if you are lucky enough to find some used for a fair price, grab them!

Youtube video is here – https://youtu.be/bzQpZX1Yifw

Posted in Speakers, Vintage Audio | Comments Off on EPOS m22 speakers!

IPA fine tunned by AI

Posted on October 21, 2024 by ray kodiak

In the last Blog I did a video on how to use AI basically to learn anything you want about beer brewing, but you can also paste your ingredients and ask AI to take a look at them to analyze.

The analysis asks can be anything, from the right grain proportions to maybe unnecessary grains that don’t do anything or might impart on your recipe.

So that’s what I did, I first asked it to review the Grains, then the Hops and last the yeast.

It compared everything against each other to recommend any changes for the Style of the beer that I am after. Now, of course, I did fact-check the recommendations and everything it recommended sounded fine to me and it even explains why.

With that this weekend of 10.19.2024 I have brewed the the following IPA / this is for a 5-gallon batch.

Grains:

  • 9lb 2-row
  • 0.5 lb Carapils

Hops:

  • 2 ounces of El Dorado (bittering at 60 minutes)
  • 3 ounces of Mosaic (Whirlpool)
  • 3 ounces of Cascade, also (Whirlpool) – so last 10-15 minutes

Yeast:

  • 1056 American Ale Wyeast

pictures and final tasting thoughts will come later with an Update, thanks!

Posted in BEER Recipes, Uncategorized | Comments Off on IPA fine tunned by AI

using AI for Beer Recipe Exploration

Posted on October 11, 2024 by ray kodiak

So this is a Quick introduction in the llama3.1 or 3.2 models which you can easily download and install on any computer (Windows, Mac or Linux) and the interface is very easy to use.

Wanted to do something new and more interesting than just posting another Beer recipe, since those are a dime a dozen.

So whether you are someone who hasn’t learned yet about AI for your job-related tasks or maybe you are retired and don’t pay attention to any of it, you really should because it can make the hobby of your Beer brewing a lot more interesting and can make great improvements to your recipes and understanding of ingredients.

Since most people are visual Learners, here is the Link to the Video on YouTube – https://youtu.be/2vh3D8zg3hQ

Posted in BEER Home Brewing | Comments Off on using AI for Beer Recipe Exploration

English Brown Ale – brewed by a robot

Posted on June 21, 2024 by ray kodiak

So in case you haven’t seen in my recent posts, I have acquired a few picobrew machines / the original Zymantic and the Z1 and also a picostill (which I plan to use to make extracts with). Sadly the company is no more, but happily – you can score these machines for a fraction of their original price. I paid $200 for all, and this probably cost close to $4,500 for all that I have acquired in this deal.

I have setup the Raspberry Pi to act as a local server for these, so they no longer need to connect to the corporate web servers to make them run, $75 cost.

So now I store all my recipes online, as they sync and import into the machines using this new software tool, but regardless, you can use them using any equipment following the recipe.

Actually the yeast I used was: 1968 London ESB Wyeast

https://crafter.pilotbatchbrewing.com/recipe/print/1209

having these machines will save me quite a bit of time because you just put in your ingredients and press Brew, come back 5 hours later and you just cool (10 minutes at best ) and pitch yeast.

It also will give me smaller batches and more variety as I drink less beer these days, so ya!

Update – I used AI software (ollama model) to inspect the recipe, and it came out really good, I also wanted to dial is the perfect color of the beer:

Posted in BEER Home Brewing | Comments Off on English Brown Ale – brewed by a robot

EPOS ES14 speakers and custom tweeter Baffle – an adventure in HiFi Audio

Posted on April 2, 2024 by ray kodiak

So up to now this Blog site has been dedicated only to Beer Brewing, but I am going to start expand it a little bit into my vintage Audio hobby as well, so with that, this will be the first post.

A few years ago I have purchased a pair of EPOS ES14 (with one original blown tweeter, I knew this) and one of the things you learn with vintage speakers, especially highly sought after in the category of Cult following, is that when a driver breaks, especially a custom designed driver that is no longer manufactured – these are considered almost 100% un-obtainium and really the only way to get more drivers is to either buy another pair of speakers, broken or not and you hope to salvage something out of this, the things you do to stay in the Cult!

So with that, I was left with either this option or…… learn 3D CAD and designed my own baffle and 3D print them – which is what I did. I ended up using some spare tweeters that I had on hand from a different project that I ended up doing nothing with, so I ended up using some Peerless 4ohm ( BC25TG15-04) 50 watt and I paired these with a 4.7uF capacitor (after playing with some other values) and it came out super good, better than original.

I first printed these in PLA, but later switched to PETG, because it seems to be stronger and also more UV resistant, incase speakers would be placed by a window and getting direct sunlight.

with that, after verifying everything and fine tuning and going through about 7-8 different test prints, I then decided to offer it for Sale on Ebay / so customers in either a same situation as me or maybe just when people wanted to try some new Tweeter combinations.

Some advantages over the original tweeters is that /// the original was mounted behind the tweeter baffle most likely by design, but lots of improvements have been achieves since the late 80s and with the new baffle we can completely avoid any Baffle Diffraction or Edge Treatment and the sound is no longer so centered on axis as before.

Now a lot of people say that this will change the speaker, and in- fact does change it but for the better, much better.. and you have an option to choose your own driver, and material type, as I prefer soft dome tweeters over metal dome, just my preference.

I have tested these to people in complete blind testing and people were left speachless and that was with a fairly inexpensive proof of concept driver.

In the future I am planning to upgrade with a Seas tweeter and maybe make another version of the 3D baffle to true fit whatever driver I am end up selecting. 

With that – if you have interest in purchasing these from me you can find them on Ebay or if you like to buy them from me directly, please Contact me, thanks!

To Date I have helped and sold 5 pair / my hope is to raise some money to buy a better printer soon as well. The 3d design plans are “not” for Sale, thanks!

Ebay Auction: https://www.ebay.com/itm/125945208107

Posted in Speakers, Vintage Audio | Comments Off on EPOS ES14 speakers and custom tweeter Baffle – an adventure in HiFi Audio

Belgian/French Saison Winter 2023

Posted on December 12, 2023 by ray kodiak

This winter I’ve brewed a 10-gallon batch / more to come including the recipe I followed and how I mixed yeasts ( kind of unplanned ) but beer came out awesome…

Posted in BEER Recipes | Comments Off on Belgian/French Saison Winter 2023

Next Brew / a Gulden Draak clone

Posted on December 23, 2022 by ray kodiak

Next up / I attempt to brew my first Clone of the Gulden Draak beer.

Posted in Uncategorized | Comments Off on Next Brew / a Gulden Draak clone

Steuben Wine 2022

Posted on October 28, 2022 by ray kodiak

There is nothing quite like HomeGrown!

after fermentation was over – 2 months old, tastes great!

+++++++++++++++++++++++++

The pour sample (picture below) of our wine from this year / when it was being transferred to secondary fermentation. It came out superb in color and taste! Of course it is still not even finished, but a good sign at this stage.

Link to Steuben grapes if you are not familiar with them – https://pennsylvaniawine.com/2018/02/15/pennsylvania-wine-school-steuben/

I choose this grape when I was first starting out for their resistance to disease and able to survive harsh winters. Last two year I let it go totally wild with no Management of any kind and the more I do that, the better the wine gets!

a Quick YouTube video is below after I have transferred from Primary to Secondary fermentation…

more to follow…

Posted in Wine | Comments Off on Steuben Wine 2022

British Brown Ale – rebrew 2022

Posted on June 15, 2022 by ray kodiak

Just a rebrew of our current recipe, it’s beautiful, isn’t it? Use the Search function to look for it if you want to brew it.

Posted in BEER Recipes | Comments Off on British Brown Ale – rebrew 2022

Brewing a Saison using yeast from Mute Dog Brewing

Posted on November 11, 2021 by ray kodiak

The Beer came out Delicious!!!!!

—++++++++++++++++++++++++++++++++++++++++++++

I have not brewed any beers in at least 5-6 months, simply because it takes much longer to go through what I brew and I also drink other craft beer, since social interactions have become less frequent with people due to Covid-19 – time has come to brew a new beer!

A few good months ago now, Mute Dog brewing has hooked me up with a few different yeasts, one of them is a Abbey Culture, a wild yeast “originally harvested it from honey I got from a neighbor of mine in 2012”, other characteristics:

  • ” it’s also quite fruity, maybe leaning toward pineapple, but mostly just generically fruity, like bubblegum “
  • ” A lot of saison yeasts express a somewhat assertive black peppery phenol. Mine is more subtle, like mild clove and vanilla. “
  • ” Oh, it’s also very highly attenuative, so whatever you make with it is going to end up pretty dry. Expect FG to be 1.006 or below (maybe a bit higher if you make a huge beer, but not much higher). “
  • ” Also, it’s highly alcohol tolerant, it has produced beers of 12-13% with no problems. I used it to make a sake and it went to 20+% “
  • ” I’ve run it from 48-105°F it doesn’t seem to care. It goes a bit faster at warmer temps, obviously. “
  • ” It’s good in Saison, though maybe not as spicy as some might like it. Great in Beire de Garde, also makes an excellent Wit, Dubbel, Tripel, & Quad. Also tasty in cider. “

At first the yeast was slow, it was in the fridge for a while, so it took a few good days to come out of sleep, but once it did, it started to move nicely.

about a week later it finished and here is a quick sample from under the microscope at 400x magnification, the slide was actually dirty, but I just wanted a quick glance… btw even at 1,000x you bearly (bears, hehe) see the inside structure of the individual yeast cell, you really need much better microscope, but optical cuts off at about 1,000x without loosing quality.

Almost a month later, the fermentation is over with FG-Final Gravity of 1.006 / starting gravity SG was 1.064- this should be a solid 8% Beer! Now we are going to age them, we got a total of 10 gallons clean beer….

Here is how the yeast looks after all the beer was removed (bottom of conical fermenter), yes yeast was collected to save into some empty jars and stored in fridge for next time.

~ link to mute dog: https://mutedog.beer/

Conclusion, there are risks with Wild yeasts, but if you find the right stuff and you are willing to invest the time and effort into it, you will be beyond rewarded, life is short, take more risk!

Posted in Uncategorized | Tagged | Comments Off on Brewing a Saison using yeast from Mute Dog Brewing

next Brew – Baltic Porter

Posted on February 20, 2021 by ray kodiak
Baltic Porter: The ‘Robust’ Beer of the 18th Century Working Man

On 2/12/2021 – I brewed a 10 gallon batch of Storm Surge Baltic Porter, rated at 9.6% ABV. This beer has a large grain bill, as in expense, almost $70 just for the grains.

Also reused the grains and reboiled for 30 minutes, with whole homegrown hops added to the mash tun, to get a 5 gallon batch of lower ABV beer around 5%, which is a great technique to get more beer, literally for free.

I will post the full recipe details later, but some details:

About the Mash: 90 Minute Mash at 148F, at end of Mash the temp fell to about 142F, so then slowly started reheating to mash-out temp of 165F, an extra 25 minutes.

Mash-out picture:

Posted in Uncategorized | Comments Off on next Brew – Baltic Porter

Pear and Apple Hard Cider

Posted on August 31, 2020 by ray kodiak

This year yet again we pressed some asian pear and mixed apple juice to make hard cider. I used a press that a friend of mine has access to via membership through a local tool library in Seattle, but I recon you can also buy one if you will press enough apples or use it frequently to justify its expense.

Here we were pressing some juice from mixed asian pears from a single nice mixed grafted tree, it produces one 5 gallon bucket of pears which give us about 2 gallons of juice:

you notice the light colour from the pear juice compares to a different colour from the apples:

To Make either apple or pear hard cider is easy…. you can use any fermentation container really, even growlers and if you don’t have an air lock, simply put some aluminum foil over it, the gas will escape and prevent anything going inside, the positive pressure should prevent anything going inside as well.

Crush and put some campden tablets into your fermentation container and let its do its thing for 24 hours, and allows gas exchange so that sulfur dioxide can escape. This process will kill any bad things from the collecting process of the pears/apples, bacteria and wild yeasts.

you can use many different yeasts, including wine yeasts.. some people naturally ferment it with natural yeast, but this is more risky and you never know how it will turn out, as each time the yeast and results could be and will be different…

After 24 hours, add your yeast of choice and let it ferment. To clear later you can cold crash it in the fridge for the cider to clear up, and there are many different natural agents you can add to clear up the cider as well, such as bentonite clay.

You can even transfer to another container and leave any sediment behind to further finish the fermentation and help to clear up the cider, which is recommended. Once all done, you can naturally carbonate with priming sugars or force carbonate with co2 gas if you already have this equipment.

Cheers!

Posted in Cider | Tagged | Comments Off on Pear and Apple Hard Cider

Scottish Blonde Ale

Posted on June 5, 2020 by ray kodiak

So this is basically a regular Blonde Ale recipe using a Scottish yeast, the Scottish Ale #1728

this yeast is pretty versatile, we did the Scottish Scotch Ale previously, so wanted to re-use it in something else and also save about $10 – a good house yeast – https://wyeastlab.com/yeast-strain/scottish-ale

grains for a 10 gallon batch:

  • 20 lbs of 2-row Premium ( use a local grain if able and keep this beer regional )
  • 1 lb of crystal 15Love

hops:

  • 1 ounces of Willametter hosp at 15 minute to end of boil and 1 ounce at end of boil

yeast:

  • Scottish Ale #1728

OG was 1.052 for a beer about 5.5%

total cost of grain and hops was $36.30 / we had the yeast from last brew so re-used, save money…

In addition to the primary brew, for the last year – we have been re-boiling the primary grain at 1/2 volume, so 5 gallons, adding whole hosp (its a mushtun so its ok) and you can even add a little bit DME, we added 1/4 lb to bring up the ABV% a bit. This nice #hack allows you to use different hops if you want and even different yeast using grain that you normally throw away – Yay to #freebeer

Yes, this beer will be a lighter body of the primary style, but it almost becomes a completely different beer in it’s own right, if I didn’t tell you it was a re-boil, you wouldn’t know anything different.

OG on the re-boil was 1.032 for a 3% beer.

Posted in BEER Recipes | Comments Off on Scottish Blonde Ale

Strong (Wee Heavy) Scottish Scotch Ale – All Grain Recipe

Posted on May 15, 2020 by ray kodiak

Pandemic Brew 2020!

About two and a half months ago, in the middle of our Regional Pandemic, I brewed this Scottish Ale. It felt weird and strange brewing it in the middle of the happening.

Basically the recipe was used the same as last time, more updates later, Cheers for now!

Drink Beer and Stay Safe!

 

Previous Brews ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

strong_scottish_ale

 

above – Photo credit: Bryan Carr 2015

Below are our photos (is lighter than in the picture), should be – amber color, you should see through the glass to the other side.

Tk9ZtFLe8jXIkEZH61DHLgjWcCffA1hvwqtLjhfVJPKW=w1760-h995-no

15+-+1 15+-+2

 

Cheers!!!

 

Today we are sharing a recipe of another fellow brewer from the Brew Nerds Community on Google+ ( thanks for permission to share your recipe Bryan Carr!! )

Here is his recipe:

OG: 1.100
FG:  1.025
≈ 9.8-10.0 %

Grain: 
15# Maris Otter
1.5# Crystal 60
0.5# Crystal 120
2 oz  Roasted Barley
2 oz  Chocolate

Hops: 
0.5 oz Fuggle @ 90
0.5 oz Fuggle @ 60
1 oz    Northdown @ 15

Yeast: WLP028 White Labs Edinburgh, 1L starter with 3 vials… call it overkill.

Mashed at 146 F for 60 minutes, then brought it up to 156 F for 30 minutes. Mashed Out at 170 F and collected roughly 9 gallons of wort for the boil. It had a 90 minute (rigorous) boil, and final volume of 5.5ish gallons.

Fermented at 70 F in primary for 1 month, then dropped it down to 58 F degrees in secondary for 2 months. Bottle conditioned for 6 weeks.

//

For our 10 gallon recipe (based on grains/hops/yeast) that we have access to we picked:

  • 30 lbs of Golden Promise, at $1.30 a pound
  • 3 lbs Crystal 60 Lov., at $1.85 a pound
  • 1 lbs Crystal 120 Lov., at $1.85 a pound
  • 4 ounces or 1/4 lb Chocolate malt 350 Lov., at $1.90 a pound

We couldn’t get a hold on the Northdown – substitute Perle hops // also got the Fuggles (multiplied for a 10 gallon batch).  For yeast – Scottish Ale #1728 – using a 2000ml starter.

Further brew details and pics later…

OG was 1.086, FG was 1.014 // so basically 10%

The beer tastes awesome only 1 week out of fermentor (one week in fridge/keg), test pour.. the classic chill haze is there, but a few weeks later it will all naturally clear up, follow-up photo later..  Very drinkable only after 1 week – so I think we have a winner here!

SSAle_10

 

 

 

 

Posted in BEER Recipes | Tagged | Comments Off on Strong (Wee Heavy) Scottish Scotch Ale – All Grain Recipe

Belgian/French Saison aka Farmhouse Ale Recipe +Fruit – All Grain

Posted on February 7, 2020 by ray kodiak

Brew in 2020: Belgian Saison (no fruit additions)

Beer came out delicious – this yeast/beer needs conditioning and aging, right off the bat it doesn’t taste all that good, but give it 3 months and what a difference, give it even more time and my ohhh my – Cheers!

We brewed the Saison on right after New years using the Wyeast 3724 strain to ferment starting at room temperature.  As expected it stalled at around 1.032 (read up on this yeast if you are not familiar), raising temperature to about 90F is recommended with this wild beast, but I was super busy and wanted to see what happens if you leave it alone.  “A lot” slower, but a few weeks later it eventually reach 1.012 on its own, attaining about 7% ABV, from SG of 1.065.   I have decided to keep it even longer for higher ABV, to get a drier Beer, as this yeast is more than capable.  In addition to the primary brew, we also brewed a Light version by re-heating the grain at 50% of original volume.

My technique is to reheat in the mashtun and take advantage of the grain acting as filter, thereby adding whole hops right into the re-boil and not worrying about hop stuck.  I re-heating to bring to a boil and then cook for about quick 25 minutes – yes, the dynamics change here a bit vs. normal primary brew, but the final product is always great Light beer.

Light beer pic below: 3% ABV

Primary beer pic below: 7% ABV

The light beer comes out Straw color, is very easy to drink and swallow, Low ABV at about 3%, maybe even a bit lower 2.8%

Brew in 2017: Belgian Raspberry Saison

picture below ( wort after mashing finished, continually recirculated ):

 

4/9/2017:

Today we have brewed a Belgian Saison – using the Wheast 3724 strain.  If you read about this strains feedback and requirements from the manufacturer and other people’s experiences, you will quickly realize that this is not a beginner strain.  If you are starting out and lack precise heating control in your fermenting environment (or some heat control), then you perhaps should go with a different strain, like the Wheast 3711 or perhaps offerings from other vendors like, White Labs., but check the requirements and do a little research for which ever yeast you decide to go with.

The temperature range for this strain is between 75 ~ 95F, it is a high attenuator 75-80% / which will give you that dry classic Saison profile beer.  The grain profile for this brew was more complex than for the French Saison.  We used regional hops from England.

For precise heat control management and data capture for later analysis, we of course use the Beeruino, it logs all the variables we need and allows us to monitor and tweak the temperature as the yeast gives you feedback on what to do.

We will post more details later including the exact recipe and final details on ABV.

The starting OG was 1.044 on this beer (11 gallons) and we take samples (gravity reading, date) over time as it ferments and quickly transform that into a plot using R to show what is going on.

[wpedon id=4272]

OG <- as.numeric(c('1.044','1.033','1.012','1.010','1.006'))
class(OG)

DATE <- as.Date(c("04/09/17","04/13/17","04/27/17","04/30/17","05/06/17"), "%m/%d/%y")
class(DATE)

observations <- as.data.frame(OG)
observations$DATE <- as.data.frame(DATE)

summary(observations)

with (observations, plot(DATE, OG, type="o", col="blue", ylab="gravity reading", xlab="Date") )

the resulting R plot (using simple x over y axis)…

If you don’t know what R is and want to learn: https://www.r-bloggers.com/start-here-to-learn-r/

On the 4th week we added 2lb of frozen raspberries / and waited a week extra.

Video before shows how I blend frozen raspberries.  Total volume added was 3/4 of a gallon – I mix warm water with frozen raspberries, otherwise its difficult to get them blended.

On Friday 5/12/2017 the heat was turned down to 78F and I let the temperature fall so that everything settled to the bottom of the fermentor.   You can ferment longer after the addition of the raspberries to let things integrate longer, maybe 3 weeks total after fruit addition.

Here is how the color looks before and after /  also for testing purposes its always a good idea to leave some of the original beer before fruit was added to see how they compare.

left = before adding fruit

right = after addition of fruit

This yeast likes heat!

Make no mistake about it, this yeast like heat right from the start, 80F minimum is perfectly ” a ok ” even as soon as you pitch.  Some people like to gradually raise it by a degree per day or so, but I think that this is totally unnecessary.

Most other strains when fermenting at these temperatures would result in a beer that tasted like a combination of gasoline and nail polish remover, seriously, so for this reason a lot of people naturally are wary of starting at higher temperatures.  Be warned that if you start with a warmer starter, and pitch into a cooler wort say 68F / this yeast can stall right away and you might not even see fermentation – which probably will freak you out.  As that’s exactly what happened the 1st time we did this, simply raise your temps to 75, then 80, then 85, 5F per day and let it sit there.  Agitate your fermentor if you can once in a while.

Stalling – did I say already that this yeast is notorious for stalling ?  It doesn’t matter if you are an experienced brewer, it has a mind of its own, it will stall, maybe on your first try or 5th try.  Also – this yeast can be slow – so a lot of people will confuse that with stalling, but it just takes time.

This strain will most likely stall around 1.035, for us it was 1.033, just ramp up the temp and take a vacation, you will have to wait a few weeks.

Make a big starter – for this brew we only made a 1000ml starter, but bigger is better with this strain of yeast, next time we will do 2000ml starter at bare minimum.

This yeast *may* be pressure sensitive.

Some research indicates that this yeast could also be stalling because of the pressure created inside the fermentor from co2 gas, and therefore some people open ferment, maybe put some aluminum foil over the exhaust.

What we actually did was use an air lock, because not a lot of pressure is needed to move the air lock up, but more is needed to overcome the water resistance enacting over the fermentor when the blow-off tube is sitting in a container full of water.

But think about it, maybe that’s really what an exciting brew is all about, brewing becomes a little bit boring after a while, if everything comes out like clock work ” as to be expected ” and there is no element of mystery, what is going on in there, hello yeast, knock knock, anyone there ?

This Saison will reward you with a wonderful complex peppery-fruity flavor, people will be breathing down your neck, they will beg!!

The ABV can range anywhere between 5 ~ 7.5%, it all depends on your recipe and what you are looking for.

Detailed observations to come, stay tuned!!!

 Grains used:

  • 22 lbs – German Pilsner
  • 1 lb – Vienna
  • 1/2 lb – Munich
  • 1 lb – Caramunich
  • 1 lb – Wheat

Hops:

  • 2 ounce at start of boil – East Kent
  • 1 ounce at 5 minutes to flame off – Styrian Hops

Yeast:

  • Wyeat 3724 1000ml starter

Cost:

The more complex the grain bill is, the more it will cost ( specialty grains cost more per pound compared to base 2-row grain ) – for all ingredients ( grain, hops, yeast, raspberries ), total was $72 with tax – this brewed 11 gallons, which means that we average about $6.50 per 1 gallon of awesome, fantastic beer.  Tell me where you can go and buy a gallon of Belgian Saison with Raspberry for $8 bucks ( no where ), most breweries sell Belgian by a small glass and that cost $8/$12 per glass, forget buying a growler to take home or a gallon.

The biggest cost was the German Pilsner, at $1.79 per pound.

Here is how it looks at only 1 week out of the fermentor with a quick cold crash in the fridge – ( tart, dry and a good hint of fruit ), very drinkable, now we age and see how it transforms and refines over time.

In conclusion – if you want a stronger/sharper raspberry flavor, remove beer about a week after addition of the fruit from the fermentor, however; if you want it more smooth and less fruity, let it ferment longer 3 weeks up to a month after addition of fruit.  You can also have both worlds, by removing half of it and half later from the fermentor, and also save some without fruit additions so that you can compare it all.

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Brew in 2015:

7/28/2015 – on Sunday we are brewing a slightly different variation this year.  80% Pilsner, 10% Vienna, 10% Wheat.  Columbus for bittering and Saaz for Aroma hops // using French Saison Yeast #3711 by Wyeast.  In addition we will use Raspberries during secondary conditioning for a – French Raspberry Saison…  Also we will shoot for at least a Double, so approx. 9% ABV+.  The colour we are looking for is a farmhouse straw!

The two pics below were a test pour out of the Fermentor at 2 weeks, the classic staw Farmhouse Ale colour was spot on.  The beer tasted awesome as well, only will get much better with time.

IMAG0074

IMAG0075

Raspberries also come through the best in beers for the flavor, taste and their overall profile.  It can turn some beer slightly sour with an unexpected benefit!

OG this time was 1.068…  FG was 7 days later (1 week fermentation), for a final of 1.005 – which would put this beer at a approximate 8.30% // not too shabby!

Now to Age // CHEERS!

Here is how the beer looks like at mashout…

eRB_9S5JznOVFPxQ7JUoPNAFADNbVfTEk4euY1kRY4I=w563-h995-no

and here is how it looks like after 1 week of fermentation with the raspberries added to the fermentor at day 3.

Uwg8HBBr3cONFVLDJUcwmuY1xzlwsKFrRxHaB2-YCXDZ=w563-h995-no

Raspberry-Fruit-Wallpaper

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

 [wpedon id=4272]

Brew in 2014

7/20/2014 – we used 12 pounds of grain (per recipe percentage proportions), and 1/2 lb of Belgian Candi sugar (that’s all we had left)..  OG – 1.049, FG – 1.009

ABV % – 5.25%

Belgian Saison Ale

Historically a Saison is a french style farm beer, brewed in Fall/Winter for the next season – a harvesting/farmer drink.  These days many variations exist, and many good articles too – Google for additional research and ask questions if you are not sure about something.

If you want a traditional Saison don’t add any spices or orange/lemon peels and use traditional German hops like the Noble or something regional from the French area – since this is a traditional French beer.  We also like East Kent (even tho they are from the UK) and Styrian – these add a sweet edge to the beer.

Traditional Sainson’s are bottle conditioned and highly carbonated.  Color can be Golden to Amber, ABV 3 ~ 5%, modern Sainson can be as high as 6.5%+.  Should be moderately hoped to balance out the maltiness for all ABV variations.

Age: 1 ~ 2 months, and up to a year+

60 minute standard mash, some people even do a 90 minute mash

We will post out ( OG , FG ) and final ABV later.

  • 85% lbs domestic Pilsner // we like to use the German Pilsner Malt as substitution.
  • 10% Wheat
  • 5% Euro Caravienne

Hops / Additional ingredients:

Once you achieve a rolling boil, set timer:

  • At start-of-boil add 1.5 oz of Styrian Golding Hops and 1 lb of Light Belgian Candi
  • At 45 minute of boil add some Irish Moss – helps with Chill Haze later – http://byo.com/stories/item/486-conquer-chill-haze
  • At 5 minutes end-of-boil, add 1 oz of Sweet Orange Peel or lemon peels – depends what you want – ( skip peels for a traditional Seison )
  • At 2 minutes end-of-boil, add 1 oz of Noble Hops

Yeast:

Wheast #3711 seems highly recommended by other brewers, Wheast #3724 was reported to be slow and a pain-in-the-ass.  Yeasts by White Labs was recommended, choose a proper yeast for a true Saison beer.

Posted in Belgian Beer Recipes | Tagged , , , | Comments Off on Belgian/French Saison aka Farmhouse Ale Recipe +Fruit – All Grain

London Stout

Posted on August 31, 2019 by ray kodiak

8/31/2019

10-gallon primary batch sparge

  • 18 lb 2-row Northwest Pale
  • 1.5 lb Crystal 60
  • 1 lb Chocolate malt 350 love
  • 1.5 lb roasted barley 300 love

Hops:

  • 1.0 whole hops Yakima – start of boil
  • 1.5 ounce Norther Brewer hops – start of boil
  • 1.5 ounce Fuggles last 10 minutes of boil

Yeast – reusing the previous yeast brewed in the London Brown a few months back, doing a starter / London Ale III – Wyeast 1318 yeas

75-minute boil on the primary batch… OG 1.062 / 1 month fermentation FG 1.014 – 6.3% final OG

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

5-gallon secondary batch – here we use 6 gallons of water, added 2 ounces of whole hops into the grain (false bottom will prevent whole hop clog), bring to boil and do a short 30 minute boil, adding hops at a reduced time ratio. We also added (1lb dry light dry malt extract dme) to help with OG.

Hops:

  • 2.0 whole hops Yakima – start of boil
  • 0.5 ounce Norther Brewer hops – start of boil
  • 0.5 ounce Fuggles last 10 minutes of boil

30 minute boil. You might still get a stuck mash, so mashing out at a higher temp helps – I used a strong pump to suck and get it flowing, cool down the temps while recirculating (if no pump), good luck.

Here is how the secondary batch looks like after 3 weeks of fermentation and a quick co2 charge, it tastes light and is very easy to drink, creamy head with a chocolate taste, pretty damn good beer. The beer is at about 4.5%

Posted in BEER Recipes, Uncategorized | Tagged , | Comments Off on London Stout

London Brown Ale 10 + 5 gallon batch

Posted on May 26, 2019 by ray kodiak
this beer came out delicious! – slightly on the sweet side with a hint of a hop after taste…

Today I am brewing a Brown London Ale using Wyeast 1318 yeast, which is a “London Ale III”.

Here I will do my standard 10 gallon batch sparge, but also do a 2nd running on the (same grain) and brew a secondary 5 gallon batch. I’ve done this before and you basically get 50% more beer with the same grain bill, just a bit weaker beer.

For this I always like to start with a high-er gravity beer, like 6% or higher, and then this way your secondary will end up around 5%+

In your secondary, you do have an option to add more DME or like in this case, we added 1/2 pound of Dark Brown Sugar. In the second batch you have the freedom if you want to use a totally different hop profile or even yeast. Of course you can keep everything the same, like I did.

malt:

primary 10-gallon grail bill:

  • 18 lbs Golden Promise
  • 5 lbs Munich Malt
  • 1.5 lbs Crystal 15
  • 1.5 lbs Crystal 60
  • 0.60 lbs Chocolote malt, 200 Love
  • 0.50 lbs Dark Brown Sugar

secondary running – same grain on a 5 gallon batch, plus 0.50 Dark Brown Sugar.

hops:

10 gallon – batch 1.5 ounce Cascade whole hops on 10 gallons from start of boil and 1 ounce of Willametter at 15 end of boil

5 gallon 2nd running – exactly the same

yeast:

London Ale III – Wyeast 1318 yeas

On the 2nd running I will use 6 gallon of water, re-heat it only and then transfer out of mash tun to the boil to finish it off, with standard 1 hour boil.

OG on 10 gallon – 1.06 – about 6% + – this one fermented for only about a week, and it comes out nice and sweet, I bet if you let it go longer it will end up higher ABV and less sweet, if you like this.

OG on 5 gallon – 1.04 – FG was 1.004 but also I left it in the fermentor for over a month, it comes out nice and clear and lighter color, more like a Newcastle Brown (also way better), so this comes out at a surprising 4.7% – so basically a 5% beer – see pic below:

Some nice outcomes from the secondary running is that the grain had more time to cook, so it is a little more of a roasty/nutty flavor, and in a English Brown Ale that is not a bad idea.

Posted in BEER Recipes | Tagged | Comments Off on London Brown Ale 10 + 5 gallon batch

Wild Blonde Ale

Posted on April 7, 2019 by ray kodiak

About 5 weeks ago we brewed a Blonde Ale / here I wanted to experiment more with the wild yeast culture that I have collected from raspberries in summer of 2018. This is my second attempt, the first was brewing a low ABV beer, but even here I think letting it ferment for more than the original 1 week would have been better. I finished fermenting in the bottles, so I am glad I didn’t use too much priming sugar.

below pic of the Krausen, some of it was saved…

It seems very important to monitor the activity and make sure it is done, especially if you are going to use priming sugar in your bottles so that they don’t over pressurize and become little time bombs.

The culture works, but incrementally over time, for this test I didn’t do any temperature tests, just keeping the Beeruino set at minimum 68F, since the basement can get cold sometimes – but right now I don’t know if it performs better at higher temps like 75F or 80 ~ 90F or some other range.

I took a weekly sample using a hydrometer and its flask.

The OG (original gravity) was 1.059 on this Blonde Ale.

1 week later1.04
2 weeks later1.03
3 weeks later1.022
4 weeks later1.014
5 weeks later1.010
6 weeks later1.008

Looks like at about 1.010 the fermentation stabilized and ABV is about 6.7% / probably in the end closer to 7%

I would monitor the flask as it basically is a mini-fermentor, but would still take a weekly sample from the fermentor, it was pretty much spot on – so one should be able to just take one sample with a hydrometer and monitor the flask (save beer), cover it with tinfoil or something like that seems to work awesome for me.

Posted in BEER Recipes | Tagged | Comments Off on Wild Blonde Ale

Wild Farmhouse Ale

Posted on January 20, 2019 by ray kodiak

some warning – this was my first time collecting wild yeast and fermenting using it, there is a lot more to wild yeasts than meets the eye and more than I wrote in this blog, I am aware of it – but this is more of a story than anything. If you decide to go down the adventure road of wild yeast, just be careful and use common sense – research everything, this is by no means some indefinite write-up, also – stay away from assholes, they are everywhere, enjoy the hobby and don’t let them bog you down!

by the way: if you are interested in purchasing the Wild Yeast that was used to make this beer – Contact me.

When the Norwegian Farmhouse Ale was brewed – I did a second water running on the grain (lower ABV 3%) to test out a wild yeast that was collected in Summer of 2018 off Raspberries.

Now to those that don’t know a wild yeast is not a pure strain of yeast, it is in fact a culture – which is a mix of yeast, maybe even more than one yeast and other bacteria. When I first captured the yeast after the initial fermentation there was Brettanomyces in the krausen- this gives you the sour beer, in the top of the krausen you can see a spider web like infection – this is a tell tale sign.

I didn’t want a sour beer, so I had to clean it up, I collected the yeast below the krausen and did another yeast starter – you can google about this process to learn more…

see video below of what I did:

After another fermentation and confirmation of a clean yeast, I stored in the fridge until I had an opportunity to use it later, which was on this brew. Wild yeast in my opinion are a lot tougher, they have to survive winter in some harsh conditions, nature maintains it without any human involvement or lab process, in piles under leaves, under snow, sometimes freezing for months. I think it gives to the complexity and variability of the beer and probably why there is a resurgence in the Wild Ales.

So anyways, this yeast was added to the wort from the second runnings, pics below, as you can see the Brettanomyces is gone!!!

Yes, I collected all of that krausen into a sterilized jar and into the fridge it went for another brew. As you can see it was very clean and I didn’t see any weird colors or blocks of anything odd.

So now I have my very own unique wild culture of yeast collected from my land 🙂 Hooray!

another warning when bottling – let the ABV settle for a while to make sure it is stable and use less than the idea amount of priming sugar your first time as with a non-wild yeast, so you don’t end up with exploding bottles, as example I used 3 ounces of sugar for this 5 gallons batch, and everything ended up fine for me and nice…

I will brew some other beers in the future and blog more later…

I will update once the beer is ready to drink with more pics and a more detailed taste report!

links:

https://draftmag.com/brettanomyces-lactobacillus-pediococcus-beer/
DIYeast: Capturing Yeast

If you are into Sour beers:

What Makes a Sour Beer Taste Sour?
Posted in BEER Stories | Tagged , , | Comments Off on Wild Farmhouse Ale

Kviek Norwegian Farmhouse Ale

Posted on January 6, 2019 by ray kodiak

10 gallon batch.

Today 1/6/2019 we brewed a Norwegian Farmhouse Ale – but not using any traditional means, just a farmhouse grain stack with yeast – Imperial Yeast A43 Loki.

I will brew this again in the future using the Juniper branches in the more traditional way, but for now – we will go with a more modern recipe.

Speaking with the brew store employee, he just brewed something like that with the Loki yeast and recommended fermenting at 90F – so we used the Beeruino to control temperature at 90F and Log the fermentation (plot posted later).

We employed a step mash starting at 141 F for 90 minutes and slowly moving to target temp of 153F using a recirculating pump and a PID electric heater setup. This is a linear process but one way up, you never want to start at a too high of a temperature, as it would denature the enzymes and poop your beer.

grains:

  • 21 lb Belgian Pilsner
  • 1 lb Skagit Vienna (locally sourced grain)
  • 1 lb Munich
  • 1 lb Caramunich 60 Love
  • 1 lb flaked Oakts – fyi: we put it into the mash from the start, but if you don’t have a good strong pump that can pull, you might get a stuck mash starting at a lower temp like we did at 141 F – you can add it towards the end of the mash once your temperatures are higher…

R Code below… with Plot.

temp = c(141,147,151,153,153,153,153)

time = c(0,15,30,45,60,75,90)

?plot

plot(time,temp, type =”o”)

hops:

  • 2 ounces of UK Golding Hops – start of boil
  • 1 ounce Styrian – 5 minutes to end of boil

yeast:

Imperial Yeast Loki A43

More Update later – including looking into the more traditional brew.

Links to some YouTube traditional brews: https://www.youtube.com/results?search_query=norwegian+farmhouse+ale

OG was 1.046, FG ended up at 1.010 – 4.7%

but wait there is more… 🙂

We added back 6 gallons of water into the spent grant and kept going for a 2nd running, this is something new that I decided to do, the beer will be lower ABV, but I was ok with that.

For this one I have the freedom to use different hops, used 2 ounces of whole hops of 50/50 mix (Chinook, Cascade #homegrown) at start of boil and 70 grams of Saaz at 5 minutes to end of boil, shooting for a 5 gallon batch on this – so more hops here…

And for the yeast I used a Wild yeast that I have collected in the summer time off of raspberries, so this will not be a Norwegian Farmhouse, but more like a Wild Raspberries Farmhouse – just a creation that I’ve decided last minute and geek out on this brew day!

I named the wild yeast culture RAYRAS 01 – collected in August 2018. It looked good and smelled really good of fruit esters when a test was done, so we will see if this is any good or maybe I will get a surprise and get some nice wild sour, bottom line I expect an efficient yeast even with a 2nd running, it might end up close to the first because of the efficiencies of the yeast. TBD…

This yeast is not pure yet, it is a culture – meaning a mix of yeast and other things…

The Wild Farmhouse Ale – came out great so far, ABV was low 3% because I ran the water on the 2nd runnings – you could mix in some DME to bump that up, I didn’t on this test, as I wasn’t sure if the yeast would work out and it did!

Pictures tell a thousand words:

This is the yeast that was added in, collected from Raspberries, that’s why the color in the sample.

The wild yeast culture overall looked good at the end, no infections, no funky smells, taste tested good and within acceptable normal. I’ve collecting it to keep for the next batch.

Posted in BEER Recipes | Tagged | Comments Off on Kviek Norwegian Farmhouse Ale

American Brown Ale 10 gallon batch

Posted on April 3, 2016 by ray kodiak

20160319_120209

attempt #1 pic below – Brew date: 3/26/1016

american_brown_ale-attempt1

attempt #2 pic below – Brew date: 7/10/2016

20160812_180653

10 gallons.

This beer was modeled after the Diamond Knot Brown Ale per the grains/hops posted on their web site, and simulated for ABV/SRM and IBU using app “Wort Pro”.

http://www.diamondknot.com/the-beer/always-on/brown-ale/

Videos of the brew are below:

adding flaked oats to mash: – add sweetness and body – read…

start of boil (using hop balls for whole hops so they don’t plug up the pipes):

transfer to fermentor:

adding yeast:

next day fermenting:

Attempt #1 – OG 1.068 // FG 1.010 – final ABV 7.6% – yes a little higher then the 6.0% Diamond Knot..

  • IBU 25.8
  • SRM 13

Attempt #2 – OG 1.066 // FG 1.014 – final ABV 6.83%

  • IBU 28.3
  • SRM 13

Total water used 15.5 gallons for final 10 gallons of beer…

attempt #1 grains:

  • 18 lb Pale Malt 2-row
  • 4.5 lb Munich Malt 10 love
  • 3.0 lb Crystal Malt 10 love – see below for attempt #2 changes
  • 0.20 lb Chocolate Malt
  • 0.20 lb Black Barley
  • 1.0 lb flaked Barley
  • 1/2 lb of brown sugar

attempt #2 grains:

  • 18 lb Pale Malt 2-row
  • 4.5 lb Munich Malt 10 love
  • 1.5 lb Crystal Malt 15 love
  • 1.5 lb Crystal Malt 60 love – we did this to give the beer more caramel flavor and beer body
  • 0.40 lb Chocolate Malt – we double the dark grains to darken the color a bit
  • 0.40 lb Black Barley
  • 1.0 lb flaked Barley
  • 1/2 lb of brown sugar – we didn’t use it this time, the sugar…

hops attempt #1:

  • 2.0 oz Galena with some whole hops from last year’s harvest (Yakima & Cascade) at start of boil, added to the hop boil ball, see video.
  • 2.0 oz Willamette last 15 minute of boil.

hops attempt #2:

  • 2.0 oz of home grown Cascade Hops, 2015 harvest (beginning of boil)
  • 1.0 oz of Cascade pallet + 1.0 oz Willamette pallet (last 15 minutes)

attempt #1 – Wyeast #1056 yeast was used, took 2 weeks to ferment out, this yeast consistently bubbled over the 2 week period…

attempt #2 – British Ale Wyeast #1098 // 2 liter starter // 1.040 gravity – majority of the active fermentation will be over in about 4 days, but let it go out full 2 weeks – because it’s still happening, just slower, also we like to allow extra time for all the floaters in the fermentor to settle.  On that note, per one of our brew nerds – once fermentation is over, trapped dissolved co2 gas slowly escapes the beer, so it will give you a false sense of a fermenation – only way is to measure.

attempt #3 – 11/11/18 – all same as attempt #2, expect for yeast – we used WLP002 English Ale… OG 1.052 / started the mash schedule at 138F and slowly ramped to 152F in 1 hour, then held at 152F for an additional 30 minutes for 90 minute total mash / this mash schedule produced much a better efficiency compared to OG of 1.040 in attempt #2

Beer tastes awesome – Fermentation was 2 weeks, which included 1 week rest time – this helps the yeast to reabsorb any unwanted off-flavors, in keg for only a few days!  Boom, a winner!

Posted in BEER Home Brewing | Tagged | Comments Off on American Brown Ale 10 gallon batch