Copyright Licencing — aka Reproductions Rights, I.P. Licencing — and Copywrite*

Hello, and welcome again. As stated on my landing page: This site is free for all wine-lovers to peruse and — hopefully — find useful and enjoyable. However, this work is copyrighted and the redistribution — sharing — of reviews and stories on this site is not permitted without permission. Copyright licences — a.k.a. reproduction rights, I.P. licences — may be purchased by wineries, distributors, and retailers who think my work is worthy and wish to use these reviews for marketing purposes.

Copyright Licensing

There are a two copyright licensing options available for the work — tasting notes and other descriptive passages — that I publish to my website. In addition, I also offer a review and tasting note provision service — a bit like wine show submissions, only with customised feedback — and you will find details of this below.

1. If you wish to use just one of my reviews for marketing purposes the fee is a one-off $50. Once the reproduction right fee has been paid, the review may be used by wine producer, distributor, and retailer alike.

2. If you are a wine producer who wishes to use multiple reviews of wines published to my website on an ongoing basis the annual copyright licence fee is $200-$250 depending on the numbers of samples a winery submits for review. However, if you have large number of labels and/or alternative sub-brands you can contact me directly for a quote, but a few additional wines under another label I’ve been charging in additional $50 block increments.

3. An important point to make: The purchase of an annual copyright licence fee covers any review published to my site within the period specified on the invoice. But these reviews, once published, can be used by the purchaser of the copyright licence in perpetuity.

*Copywrite / Copyright Provision

At the suggestion of several wine producers I’m also offering an assessment service such as one might traditionally receive in an Australian wine show. With the difference that there will be. Becasue not all blemishes are bad things. For $75 per bottle submitted you will receive — to quote one producer — a ‘warts an’ all’ assessment of each wine as it presents in the ‘half-blind’, peer-group line-ups that I frequently undertake.

This ‘raw’ note will be accompanied by a tasting note in my style, as well as a more restrained one which might be used — say — on a winery tasting note specification sheet. Any of these notes may be used at the discretion of the exhibitor, of course. Or a combo of each.

This service should proves useful for a number reasons. Firstly, the producer is going to get rigorous appraisal from an experienced wine show judge and critic. Second, the tasting note and review are ready for immediate upload or other form of publication. Lastly, it takes some pressure off the winemaker / winegrower / marketer to conjure up a tasting note of their own. Which I know some find pressure — occasionally difficulty — in doing. Additionally, there is no need to supply multiple bottles of the same wine. 

I’d pondered describing this service as ‘Alternative Rigorous Sensory Evaluation’. But I thought the acronym sounded a bit too clever by half, nor commensurate to the seriousness of my assessment and review service proposal. Any wines submitted for this purpose will, however, be assessed in exactly the same rigorous manner as I approach all other wines submitted for evaluation.

There is, however, one DYI aspect for anyone who submits wines to me for this evaluation process, and this pertains to colour. For one thing I assess all wines in Riedel Blind Blind glassware as I find the look of a wine may — sometimes unfairly — predispose the palate and opinion of the taster to either the positive or negative (it’s rarely in between in my experience).

And also, I’m deuteranomolous — that’s colour-blind — red-green colour-blind — in old speak. While this can, on occasion, be a little embarrassing — not being able to pick subtly-hued rosés in line-ups, for example, apart from what they smell and taste like — it doesn’t appear to have hindered my tasting capabilities.

Indeed, I make a point of confessing to this sensory deficiency every time I’m a guest judge on The Australian Wine Research Institute’s Advanced Wine Assessment Course. And I’ve been invited again to AWACs #56 and #57 in May so I must have been getting something right over the decades. One thing you’ll never find me debating is colour. It has little bearing on complexity — or intensity — of aroma, flavour, and texture in wine. Some of my absolute favourite cultivars — Nebbiolo, Grenache, Sangiovese  — are often quite anthocyanically challenged.