Jim D.

It is beautiful and looks delicious. How did you compensate for the omission of the olive oil, or did you just ignore it? 75ml is not a negligible amount of liquid. I don't think I would share the recipe author's enthusiasm for "peppery" olive oil in this dessert.

That is truly beautiful nougat. When I made it, the taste was fine, but I did not get the texture right--it was too soft--and when enrobed in chocolate, all of its lumps and saggings showed up. How did you know when to stop mixing it? And what recipe did you use? (I used Greweling's)

In my version of tiramisu bonbons, I include a ladyfinger/savoiardi layer. I create this by making ladyfingers (from scratch), then grinding them and mixing the crumbs with chocolate, cocoa butter, etc., to make a cookie layer that can be piped. I tried bought ladyfingers (including the top-rated one on Amazon), but they had no (acceptable) taste. My customers like the tiramisu bonbon, but making the ladyfingers is a pain I would like to avoid. I think the taste that says "ladyfinger" to the palate is basically cooked eggs, so I have wondered if it is possible to achieve the taste without the hassle of beating egg yolks and whites separately, folding, etc. Do you think I would get the same taste if I just beat whole eggs, then add the other ingredients (sugar, flour, vanilla), then spread the mixture on a cookie sheet and bake. I need to achieve a crisp, cookie texture that will grind easily and will last in storage--really a sugar cookie with eggs. Any ideas would be appreciated.

"Contaminating"? I think of it as providing a contrast for the mouth. The inexplicable but undeniable pleasure of biting something crunchy and another something unresistingly smooth at the same moment must count for something. It's what chocolatiers aim for when they combine a ganache of cream, chocolate, and butter with a layer of crunchy cookies.

I'm not entirely sure about eG's policy on this, but I'll send it to you in a PM. Jim

That is very interesting news. Thanks for sharing it. I am surprised because, in an interview with Tomric, Greweling spoke somewhat negatively about the second edition of his book. It seems he was quite satisfied with all he said in the first edition and was pressured into doing the second by his publisher. It would seem the publisher must be keeping up the pressure. By the way, welcome back to eG. I have missed your beautiful and useful contributions to the forum. You are a confectionery master.

We had a demo of this item by Rebecca at the 2017 workshop. The distributed recipe was titled "Leaf Croquant," and I assume it was from Rebecca, but no source is included in the recipe--which I still have but have never gotten the courage to try.

@GRiker, sorry to hear that. But I suppose a dose of reality is always useful.

Ruth, thanks for that very helpful information. I know you use CR transfers as well, and your Christmas reds were beautiful. I will have to give CR another try--in the ones I got a couple of years ago the colors are definitely not opaque: the blues turn gray, the reds turn brownish, etc.

I was afraid of that. I have found Design & Realisation in your fair country. They imply theirs are opaque on any color of chocolate, and they look promising.

I'm intrigued by the brightness (and opacity!) of the colors (I'm assuming the chocolate underneath is milk or dark). As discussed in eG posts, since the demise of ChocoTransferSheets, it has been difficult to find that degree of opacity. Perhaps whoever made these can reveal the source of the transfers. That would be very helpful info.

I looked more at the Al Arz entry on Amazon, and it seems the product comes from Israel. When you mentioned looking for tahini with Ethiopian sesame seeds, did you mean a particular type of seed, not necessarily that the tahini should come from Ethiopia? No tahini that I looked at online mentioned the source of the seeds.

I'm not at the workshop, but they are stencils. They are made to fit a certain size of mold. The chocolatier sprays some colored cocoa butter in the cavities, heats the stencil and presses it into the cavities (thus the need for the handle), and lifts it out. An impression (whatever pattern is on the business end of the stencil) is made in the cocoa butter. It is allowed to crystallize for a bit, then another tool (it can be just a paper towel) is used to wipe away excess CB in the cavities. And thus the decoration is made. Another color of CB is sprayed on top, which makes the pattern pop.

Thanks for the helpful reply. And thanks for introducing me to the word "claggy." I'll have to see if I can work it into some conversations in the near future. Ottolenghi recommends Al Arz, so I'll give that a try.

@Pete Fred, what do you consider first-rate tahini? I bought what many people say is the best (Soom), and I checked to make sure it is made from TOASTED sesame seeds, but it does not seem to me to have enough sesame taste. I use it in a sesame bonbon, which also contains lots of toasted (by me) sesame seeds, so the finished product tastes like sesame, but the taste doesn't come from the tahini itself. Its blandness is what keeps me from including it in my version of the famous Dubai pistachio filling. It is part of the established recipe, but I couldn't tell it was there, so now omit it.

No, I use white chocolate in the ganache. For the shells, I use white or (more often) a caramel white chocolate, such as Felchlin's Bionda or Cacao Barry's Zephyr Caramel.

If you don't mind telling, what do you add to the coconut and walnuts to hold them together? Perhaps the same chocolate used for the shell, which appears to be a caramelized white or something similar?

That looks delicious. I omitted the cardamom (I love the spice but don't think Americans expect it in carrot cake). I have tried walnuts and pecans, but ended up preferring pecans. I too include a cream cheese "frosting" layer, with a lemon flavor. For the cookie layer I tried the carrot layer but didn't get an acceptable carrot taste, so have switched to one based on ground speculoos cookies. I do have difficulty incorporating the browned butter; even my big Robot Coupe immersion blender takes a long time to emulsify the mixture; as a result, I have reduced the quantity of butter a little. I'm not sure what the problem is (aside from the obvious too much fat vs. liquid).

I get very positive reactions to the carrot caramel from @Rajala. I too have added a couple of tastes to bring it closer to what I think of as the typical American carrot cake (golden raisins, toasted pecans). Making the caramel takes a while, so I try to make as large a batch as I can and keep it for future carrot cake bonbons.

On another forum someone posted that she had bought a Dubai bar (the filling with pistachio paste, tahini, kataifi) from Fix Dessert Chocolatier, the company in Dubai that originated the bar. She said that the Fix bar does not contain any chocolate, with the result that the pistachio taste is more assertive. And that is how she now makes her Dubai bars. I hadn't thought of that option, but it is intriguing. Since some pistachio pastes tend to be more fluid than others, my concern is that the filling would make a mess when eaten. In my version I use some plain pistachio paste and some pistachio praline paste (with caramel). Is there any reason why there must be chocolate in this filling? A concern might be fat migration, but in a version with chocolate, there is plenty of other fat besides the cocoa butter found in the chocolate. Some plain cocoa butter might make it hold together better, as would extra kataifi. I also use feuilletine in mine (very unorthodox, but it adds more crunch and a caramel taste), which also thickens the filling.

If I recall correctly, you are very careful about the types of fillings you tend to use, namely, those with long shelf lives (caramel, gianduja). If the fillings in the bonbons in question are of that type and if the outsides show no signs of melting or softening, I would probably sell them as usual. If there were ganaches, I would check them more carefully for deterioration, but if it's been only one day, they should be OK. We all know (or suspect) how customers abuse our storage instructions. I have started using bold type for my storage info at the top of my guide included in the box and have made the language stronger as well. As for the shops that store them at room temp, I don't do that. I had a restaurant approach me today about purchasing some 4-piece favor boxes to give to guests at the end of the meal, and I led my reply with refrigeration availability. In saying that, I hope I don't sound holier than thou, but I have had a mold episode and have never gotten over that.

I like Chef Rubber's Mediterranean blue. I too have noticed varying viscosity with CR's colors. Yesterday I opened a new bottle of Gold, and it was not particularly viscous at all. Some previous bottles have required that I add some plain CB to get everything flowing. I have never found a method for getting full coverage without multiple passes when using an airbrush, and yes, the top edges require special attention. Cavities deeper than the CW2295 need attention to the bottom (what will become the top of the bonbon). I have watched Luis Amado use his Badger airbrush with quick bursts of spray. The coverage looks very spotty, but there is no question that his creations are beautiful--and appear to have full coverage. Maybe it's time for a trip to Michigan to watch him in person!

@Saltychoc, I have had exactly the same problem. I even sent my Grex to the company for a thorough cleaning. When it came back, it was fine for a while, but the clogging up occurred again. I basically gave up on the airbrush and mostly use my Fuji now (I know that doesn't help you--unless you want me to leave the Fuji to you in my will). For my Easter batch I used the Grex for a gradient (the Fuji doesn't do that very well--at least for me), and I used it to spray cavities that had tape in them to make a stripe (the Fuji's power can blow the tape out of alignment). In both cases the Grex performed very well, BUT when I emptied out the cocoa butter I had been using for the stripe, there was a substantial amount solidifying in the bottom of the cup. That should not have been happening because I reheat the gun between molds (yes, always--I can't stand a clogged-up airbrush). I think your room temperature may be an issue. Yesterday we had a quite cool day here in the Commonwealth of Virginia, and the temp of the basement where I spray had fallen to the upper 60s F. I know that a lower temp helps the CB in the molds crystallize, but it also crystallizes in the cup (and in the parts of the CB path you can't see). My experience was very good with Grex tech support, but it helps to get someone who knows about spraying CB.

Thanks for checking. He certainly fixed my EZ. By the way, on Instagram I saw an interview with you by the owner of Sosase, the colored cocoa butter that is currently making a splash in the bonbon world.

I purchased a 6-kg Mol d'Art melter in Feb. 2021. In the past couple of weeks it has not been operating satisfactorily. The first time I set it at the top heat setting, but the indicator light did not turn on. I "jiggled" the plug, finally the light came on, and the chocolate eventually reached the set temp. Another time it had again been set at the highest temp, and after two days (during which I checked to see that it was on) it had reached only about 32C. From time to time the indicator light blinks. I used various outlets, so it's not a kitchen electricity issue. I contacted the vendor to see if they do repairs but meanwhile thought I would ask whether other eG members have had similar issues. The questions: If the vendor does repairs, is the cost likely to be more than a new melter? For obvious reasons one cannot blindly trust a seller with this question. And is it likely a local electrician might be able to solve the problem? I don't know how proprietary the parts of the Mol d'Art are. Or the inevitable question these days: Is it better just to go ahead and purchase a new melter? Thanks for any help.