harvest soon day 83 - turned off the light

Flipped last week, starting to tretch a little. Worried about the stretch Been watering until runoff each time and seeing better results. The girls sometimes end up really hungry because I an really being careful with the nutrients, but a day or two after feed they darken right right. Slowly turning up the lights up 1-2% a day to harden them off. Giving transition formula for the nutes - supposed to be 2ml per gallon for all three base nutes - I add a little less bloom until about 2nd week when I start to really enhance the P and K.

New flowering continues to develop on this lady, she seems to be swelling up day by day. Yellowing of the fan leaves has started which usually means it's time to flush, I need to check the trichomes to see how amber they appear before I do just in case the flavour or yield could be effected.

April 14 - 21 Steady as they go. Some minor defoliation.

Ya se acerca la cosecha! Última semana de vida y ya comienza la cuenta regresiva. Los tricomas están lechosos en su mayoría y ámbar en menor medida, para mi este es el punto perfecto de corte.

Hello. This is the end of week 9 and the beginning of week 10 of veg. The plant is doing good. It's sticky when I work with it. Sorta a citrus type of smell. I've been pushing the branches under the rung when they get long enough... training... OK. Keep Growing Straight. Chuck.

Ok.. almost finished.. still some clear trichomes but she will Def be done by week 8... getting super

Day 29 Visual pollinated calyces all over the canopy to include the donors. Donor's will come out soon

We become aware at such times of man's wonderful ability to bring seemingly unrelated elements into harmonic balance, and receive a glimpse into a world where everything exists in conscious sympathetic attunement to everything else. When we listen to a piece of music that seems to strike a beautiful chord somewhere inside us, or view a painting that simply glows with harmonic awareness well executed, we probably do not spare much time to contemplate the wonderfully intricate combination of vibrations that our sensors make it possible for us to perceive. We tend to appreciate the relationship between the parts of something by an awareness of the harmony or dissonance of the whole. This ability enables us to say "what a beautiful house!" instead of "analysis has proven that this collection of building materials exhibits certain elements of harmonic proportion." While this ability to instinctively appreciate the beauty of true harmony has an important role to play in evolution, a more analytical understanding of the laws involved can be most useful. This is especially so if we wish to create works of art where each part exists in true harmony, not only with the other part of that particular whole, but with the universe within which the creator and the created exist. Everything vibrates. From the most dense matter to the most subtle cosmic rays, everything which our senses allow our thoughts to become aware of, can be specified in terms of wavelength or frequency of vibration. These two terms define the same thing, but from different points of view. The following are the approximate wavelengths of various energy carriers: Cosmic rays 0.000,000,001 mm Gamma rays 0.000,000,1 mm X rays 0.000,500 mm Ultraviolet rays 0.003 mm Visible light 0.006 mm Infrared 0.01 mm Sound waves 1 meter Radio waves 300 meters Violet light 400 nm to 450 nm Blue light 450 nm to 500 nm Green light 500 nm to 570 nm Yellow light 570 nm to 590 nm Orange light 590 nm to 610 nm Red light 610 to 700 nm 1 nanometer (nm) = 0.000,000,1 cm = 1/10,000,000 cm If a guitar string is plucked and we hear a sound, it is not too difficult for the human mind to associate this sound with the vibration of the guitar string. With color it is quite different. It is difficult for us to conceive that the color of a substance is not an inherent property of the substance itself, but an indication picked up by our senses of that substance's ability to absorb or reflect the light which happens to be shining on it at that moment. Neither the matter nor the light is colored. What happens is that the brain learns to differentiate between the frequencies reflected or transmitted by the substance the eyes are focused on. The same thing happens with sound. When we say "Oh! Listen, they're playing my favorite song," what we really mean is: "My brain has stored within it a particular pattern of frequencies. I have compared the new information being received with this stored pattern and have deduced the answer that the two patterns are similar within certain specified tolerances." The 'pleasure' involved could have something to do with our running the pre-recorded pattern at the same time, in 'sympathy' with the new pattern as it is received. The word sympathy describes very well our ability to appreciate color and sound. It also describes the reason behind certain elements of harmony. For instance, if a substance vibrating at 100 cycles per second (tone 1) is in the proximity of another substance vibrating at 200 cycles per second (tone 2), we could perceive, if we had the right equipment, a certain sympathetic relationship between the two. We will see from this that there is a uniform doubling of the first tone seen in the second. At various points along the waves, the two are the same in amplitude. At other points, they are at opposite poles to each other. This doubled frequency has more points of similarity to the original than any other frequency except the original itself. If the equipment we had available for measuring these two frequencies was a soundboard amplifier and a pair of ears, then we would hear what would sound to us like one tone. If we had the opportunity to hear one at a time, we would hear that although they sound the same, one is higher in pitch than the other. This characteristic of 'the same but different in pitch', musicians have called the octave. Any two tones produced where one has exactly doubled the frequency of the other is called an octave. Speaking in ratios, an octave would appear then as the ratio 2:1 or 1:2, depending on whether we are talking of an octave up or down. A single note produced by almost any instrument will contain more than one wavelength or frequency. It will have a dominant frequency, the wavelength of which we would call the note's 'fundamental' or 1st harmonic. It will also have a varying number of upper harmonics, gradually fading in intensity into infinity or silence. Natural harmonics always have the same pattern of intervals between them. The interval between the 1st and 2nd harmonic is a perfect octave; between the 2nd and 3rd a perfect fifth; between the 3rd and 4th a perfect 4th; and so on, the intervals becoming smaller and smaller until they lose any relationship with the western 12 tone scale as it exists at the moment. Just as an octave has certain elements of sympathy with its fundamental, so some intervals have been noted to be more perfectly in sympathy with the fundamental than others. The ratio of the 'perfect 5th' or interval of 7 semitones, as it occurs in the harmonic series, is 3:2 or 2:3, while that of the 'perfect fourth" is 4:3 or 3:4. All the tones in the western 12 tone scale can be expressed in terms of the ratio between the upper tone and its fundamental. This would seem to be an ideal way of generating a scale from any given fundamental and several attempts have been made to do this, the Pythagorean system being probably the most well known. Although when working with a single tone instrument playing on its own, the Pythagorean formula works wonderfully well, if we had several instruments tuned this way together and asked them to play almost any western music, we would find that at times they sounded quite out of tune to each other. The lack of flexibility of the various scale systems based on the harmonic series has led to what is known as the 'tempered' scale. This uses as its primary unit of interval the ratio of the octave or 2:1. It then proceeds to divide the interval between any fundamental and its upper octave into 12 smaller intervals by applying the ratio: two to the one-twelfth power, to one (21/12:1). This equals 1.059463094, so by multiplying any frequency by this number, we will obtain the tempered semitone next up from our fundamental. We will also find that any tone twelve semitones up from any other tone, in a scale generated in this way, will have exactly double the frequency. If we took the note middle C on a piano and halved the wavelength, we would have the note C one octave above. If we halved this, we would have the C above, and so on. However, within about 6 octaves, we would find that although a 'sound' was being produced, no human ear could perceive it. If we kept on going, halving and producing upper octaves of our fundamental C, we would proceed through the infrared band, into the visible light spectrum. If we happened to be outside during the day, we would, for one octave only, see the note C with our eyes. The next octave above would already be in the ultraviolet band, and outside the eye's sensitivity range. If we can think of color as being an indication of a substance's vibratory rate or wavelength, we may begin to see a relationship that could exist between the color and sound spectrums. The logical extension of what has so far been said is that there exists a scale in the color spectrum that corresponds exactly to the scale in the sound spectrum, each color tone being an octave of the equivalent note in the sound range. This is not the end of the story but only the beginning. If we can for the moment accept that any wavelength in one band has upper and lower octave stretching out to infinity, then the next question is 'fine, but what shall we use as our fundamental? A particular color? A particular sound frequency?' The musicians among us will probably say 'A 440'. This means that the note A should vibrate at 440 Hertz, or 440 times per second. They would tell us that this is standard pitch has been adopted by most orchestras around the world; pianos are tuned to it, instruments are constructed to formulas based on it, and so to them it would probably seem the most appropriate place to begin. Some of these musicians may know of the battle that is still raging with regards to this being the standard, but few would know why A = 440 Hz was chosen except that it worked when it was set to be a suitable compromise between the many different pitches in use at the time. 432 Hz is said to be mathematically consistent with the patterns of the universe. Studies reveal that 432 Hz tuning vibrates with the universe’s golden mean PHI and unifies the properties of light, time, space, matter, gravity, and magnetism with biology, the DNA code, and consciousness. When our atoms and DNA start to resonate in harmony with the spiraling pattern of nature, our sense of connection to nature is said to be magnified. Another interesting factor to consider is that the A=432 Hz tuning correlates with the color spectrum, while the A=440 Hz is off. Audiophiles have also stated that A = 432 Hz music seems to be non-local and can fill an entire room, whereas A=440 Hz can be perceived as directional or linear in sound propagation. Once you adopt the idea that sound (or vibration in general) can have an equalizing and harmonizing effect (as well as a disturbing effect), the science of harmony can be applied to bring greater harmony into one's life or tune to specific energies. There is a form of absolute and relative harmony. Absolute harmony can, for example, be determined by the tuning of an instrument. The ancients tuned their instruments at an A of 432 Hz instead of 440 Hz - and for a good reason. There are plenty of music examples on the internet that you can listen to in order to establish the difference for yourself. Attuning the instrument to 432 Hz results in a more relaxing sound, while 440 Hz slightly tenses up the body. This is because 440 Hz is out of tune with both macro and micro cosmos. On the contrary, 432 Hz is in tune. To give an example of how this is manifested microcosmically: our breath (0,3 Hz) and our pulse (1,2 Hz) relate to the frequency of the lower octave of an A of 432 Hz (108 Hz) as 1:360 and 1:90. It is interesting to note that 432 Hz was the standard pitch of many old instruments and that it was only recently (19th and 20th century) the standard pitch was increased. This was done in order to be able to play for bigger audiences. Bigger audiences (more bodies) absorb more of the lower frequencies, so the higher pitch was more likely to “cut through”. One of the oldest instruments of the world is the bell ensemble of Yi Zeng (dated 423 BC), tuned to a standard F4 of 345 Hz, which gives an A= 432 Hz. The frequency of 345 Hz is that of the platonic year! Similarly, many old organs are tuned in A=432 as well; for example, St. Peter’s Capella Gregoriana, St. Peter’s Capella Giulia, S. Maria Maggiore in Rome. Maria Renold’s book “Intervals Scales Tones and the Concert Pitch C=128 Hz” claims conclusive evidence that 440 Hz and raising concert pitch above scientific “C” Prime=128 Hz (Concert A=432 Hz) disassociates the connection of consciousness to the body and creates anti-social conditions in humanity. The difference between concert pitch A=440 Hz and Concert A=432 Hz is only 8 cycles per second, but it is a perceptible difference of awareness in the human consciousness experience of the dream we share called existence.

We’ve had some nice weather this week. So far so good. I just hope to get her through flowering, as she is supposed to be a very small plant. Other than that the bottom leaves that may be dying I think she should be okay? For now it’s just sticking to water + worm tea & a drop of Black Molasses.

What up Fam, start of week 2 of these and wow are they showing growth daily. Got my Ro system and Humidifier all plumbed in and the plants are definitely loving having the added humidity. So far seeing incredible consistency across the canopy. All in all Happy Growing.

So Ugly Genetics, little plant that go in flowering at two weeks. 1/3 Seeds come out, GrowShop near home so bad quality articles. Microscopic root develop... do not use "eazy plug" as a seed's first pot... don't trasplant autoflowering strain. From 60 grams wet, 12 grams dry ...

Vamos familia, actualizamos la sexta semana de vida de estas Runtz Punch de Herbies. La temperatura que estuvo entre los 24-26 grados y humedad dentro de los rangos correctos. Todavía estamos en el ciclo 16 horas luz, 8 oscuridad, estiraron bien y ensancharon bastante también, el color es verde sano. Se nota que los nutrientes de la marca Agrobeta hacen sus funciones. También realicé una poda de bajos que yo si las veo necesarias para explotar después la flor. - os dejo por aquí un CÓDIGO: Eldruida ,descuento para la tienda de MARS HYDRO. https://www.mars-hydro.com Hasta aquí todo, Buenos humos 💨💨💨

Sep 28: Overdose is packing on weight and looking to be quite a big yielder considering I only topped her once and didn’t optimize for it being a photoperiod and not actually an auto. So far so good and flowering is picking up speed. Sunlight gets very weak into October and potentially frost but with UV lights and putting her in the garage on cold nights, this will finish strongly. Sep 29: cool and overcast today so I got the LED light out for supplemental light during midday. Minor hassle really but I know the light is quite weak here in October and this supplemental light will likely make a big difference on a late finisher. Watered with cal-mag and potassium this morning. Went to add N and I have some fish fertilizer still…pH dropped in water and I had to use potassium silicate again to get pH back up to proper range. Oh well, she’ll appreciate it all. Oct 1: gave her another dose of fish fertilizer and potassium silicate this morning. Oct 3: not sure why but I gave her a partial dose of seaweed extract this morning along with the warmed water. With lower temperatures I’m upping the water temperature a bit. Now using about 28 C water in the morning when it’s still only about 5 C. That seems to help and is easy to do with a cheap kettle to boil water. Oct 4: she’s completely purple now but flowers are still blooming and no signs of bud rot. Will try to hold off on harvest for another week.

Gushers is growing great under the Spider Farmer G5000/UVR40 lights, in the Athena blended line nutrition. She is bulking and, and smelling good. Her colas are developing nice, and a good frost layer. Everything is looking really good. Thank you, Royal Queen Seeds, Spider Farmer, and Athena. 🤜🏻🤛🏻🌱🌱🌱👸 Discount code: GROWERS20 Thank you grow diaries community for the 👇likes👇, follows, comments, and subscriptions on my YouTube channel👇. ❄️🌱🍻 Happy Growing 🌱🌱🌱 https://youtube.com/channel/UCAhN7yRzWLpcaRHhMIQ7X4g Spider Farmer Official Website Links: US&Worldwide: https://www.spider-farmer.com CA: https://spiderfarmer.ca UK: https://spiderfarmer.co.uk EU: https://spiderfarmer.eu AU: https://spiderfarmer.com.au G5000 Light Amazon Link: amzn.to/4643esa UVR 40: https://www.amazon.com/dp/B0BR7SGTHS Discount code: saveurcash (Stackable)

(Week 34)Realized that my plants looked a little phos deficient. BioGrow has plenty so i adjusted my ph back down to 5.8 plants looking allot happier. Using baking soda as ph up, very little needed.

Now that I finally removed the other plants i have total control of the space! I moved the light diagonally so the girls can take max benefit from it.. I think i fucked the ph once since I saw a little deficit on the plant after the last watering... I dont know if ifs ph or something else :/

Mothers still on 18/6 Autos flipped to 20/4 And they are loving it 😎😎

Just been topped as going tall anyway Very healthy looking plant so far so good Condition are pretty damn good too