Reducing salt (NaCl) intake is an important public health target. The food industry and catering services are searching for means to reduce the salt content in their products. This review focuses on options for salt reduction in foods and the sensory evaluation of salt-reduced foods. Simple salt reduction, mineral salts and flavor enhancers/modifiers (e.g., umami compounds) are common options for salt reduction. In addition, the modification of food texture and odor-taste interactions may contribute to enhanced salty taste perception. Maintaining consumer acceptance of the products is a challenge, and recent examples of the consumer perception of salt-reduced foods are presented.

Purpose – This paper aims to extend current understanding concerning the cross-modal correspondences between sounds and tastes by introducing new research tools and experimental data to study associations and their reflections between music and taste. Design/methodology/approach – The experiment design addresses the multidisciplinary approach by using cultural, chemical and statistical analysis methods. Findings – The paper provides further evidence that exposure to the “sweet” or “sour” musical pieces influences people’s food-related thinking processes and behaviors. It also demonstrates that sweet or sour elements in the music may reflect to actual sweetness (as measured by sugar content) and sourness (as measured by organic acid content) of foods developed in association with music carrying similar taste characteristics. Research limitations/implications – The findings should be replicated and expanded using larger consumer samples and wider repertoires of “taste music” and dependent variables. Also, the level of experimental control should be improved; e.g., the “sweet” and “sour” music were produced using different instruments, which may have an influence to the results. Practical implications – Ambient “taste music” that is congruent with the basic flavors of the dishes can be played in restaurants to highlight guests’ sensory experience. Social implications – By carefully considering the symbolic meanings of the music used in different social situations, it is possible to create multimodal experiences and even subconscious expectations in people’ minds. Originality/value – Cross-modal associations are made between the tastes and music. This can influence on perception of food and provide new ways to build multimodal gastronomic experiences.

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This study examined the concentrations of umami compounds in pork loins cooked at 3 different temperatures and 3 different lengths of cooking times. The pork loins were cooked with the sous vide technique. The free amino acids (FAAs), glutamic acid and aspartic acid; the 5'-nucleotides, inosine-5'-monophosphate (IMP) and adenosine-5'-monophosphate (AMP); and corresponding nucleoside inosine of the cooked meat and its released juice were determined by high-performance liquid chromatography. Under the experimental conditions used, the cooking temperature played a more important role than the cooking time in the concentration of the analyzed compounds. The amino acid concentrations in the meat did not remain constant under these experimental conditions. The most notable effect observed was that of the cooking temperature and the higher amino acid concentrations in the released juice of meat cooked at 80 °C compared with 60 and 70 °C. This is most likely due to the heat induced hydrolysis of proteins and peptides releasing water soluble FAAs from the meat into the cooking juice. In this experiment, the cooking time and temperature had no influence on the IMP concentrations observed. However, the AMP concentrations increased with the increasing temperature and time. This suggests that the choice of time and temperature in sous vide cooking affects the nucleotide concentration of pork meat. The Sous vide technique proved to be a good technique to preserve the cooking juice and the results presented here show that cooking juice is rich in umami compounds, which can be used to provide a savory or brothy taste.

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