6 beaplants 960 watts total and a total of 920 grams of wet weed so far

Started the first few weeks spreading the plant out by hand a few times a day, After transplanting from a 3 gallon pot to a 7 & as the center started to bush I went further into training and tied branches around the pot with soft garden tie. Foliar feed a lite blend of Rhino skin & Flower kiss with a fine mist a few times a week as well as spinning the pots to promote even growth, vigor and IPM Eyeing up to cut a few more clones to take before flip + cleanup lower canopy / defoliation🌱 BuildASoil 3.0 soil is organic input only.

Questa settimana sta andando bene i fiori stanno diventando più grandi, sono tutti pieni di resina ma sono comunque ancora piccolini, speriamo che ingrossino ancora 🤞🏻 Aggiornamento 17 Novembre: Oggi ho aggiunto una nuova luce di supporto appositamente per illuminare i fiori che sono più indietro rispetto agli altri. La lascerò accesa h24 per vedere se può cambiare qualcosa, nel frattempo alcuni fiori sembra che stiano iniziando ad ingrossare e ad unirsi.

Day 63: Another week passes and the girls are now building nice long Colas all over . Buds are looking good and smelling so pineapple/fruity now. Buds are looking nice and hairy without looking airy. #1 In the organic soil is overall the widest and area hungry lady but her sisters are taller . #2 has been quietly pushing her way through the middle position in the grow and has some nice fat looking buds forming. #3 Is a surprise for me as I wasnt sure it would make it this far. No matter what I do , the leaf continues to look awful but the size of her and her now forming so many stacking buds , I am glad I kept her going now !. I do think at least 3 weeks for these ladies before harvest but hope to give them room to swell when the space is opened up.

MONDAY: Taking all those cuttings last week seems to have really triggered her auxins, all branches are stretching, even the ones I cut from, but her main is reeeaaalllly stretching.. I think I'm gonna have to either top her or supercrop her. I've got to keep her height down so she isn't too much of a pain to deal with in a tent full of her little clones. this fall. Or maybe I'll just stick her in a closet somewhere and keep about 15 watts on her all winter long, then take some more cuttings to put outdoors? I wish I know for sure how well she smelled/tasted/intoxicated. I'd hate to learn she's a super-plant and not be able to grow her again... WEDNESDAY: I gave her a drink of water with bud candy and calimagic and started foliar feeding with Flower's Kiss. THURSDAY: I checked her clones today...4 have rooted very well and going into 3 gal pots tomorrow. Foliar fed her and told her how beautiful she looks. FRIDAY: I gave her a gallon of grow nutes including Microbe Brew and also started her on Terpinator. I planted 7 of her clones in 3 gallon (white) fabric pots today. They are sharing the 4 x 4 tent with the 6 x White Widow + 1 x Candy Cane seedlings for now. SATURDAY: I planted 7 of her clones today in 3 gallon (white) fabric pots. I added two new blue/cold white LED panels to the 4 x 4 tent. They are kickass. Very low heat and excellent coverage. The 2 lights is overkill for this space, but I like it....a lot. So much so, that I will order 4 of them in 660nm deep red for flowering..two for the 4 x 4 and two for the 5 x 4. I also bought and installed a 16' string of 300 Cold White (7000k)/Warm White (2800k) strip lights(150 each). It has a remote control which lets me change over to warm white for flowering...or have steady cold white and pulse warm white..or whatever. I think that they will serve as excellent low-heat side/corner lighting. Kinda pricey because in addition to the lights, you have to buy a controller and power supply, but they seem very effective. I plan to order another set for the 4 x 4 tent. But, it's a double-row set (600 leds) ..one row of lights is warm white, and the other is RGB adjustable, so I can run 440nm blues for veg and 660nm reds for flower. I plan to keep them just below the canopy so as to illuminate the secondary and tertiary buds as much as possible. Once this concept is proven (and once I save the money), I'll do the same thing in the 4 x 5 tent. Update: Ok, so I've decided I'm only kinda happy with the strip lights.. I've decided to try velcroing 4 of those 4' integrated led tube lights in cold white for veg and warm white for flower to my horizontal poles. The cold white(6500k) are 2-rows of lights that pull 36w and put out 3000 lumens each and the warm white(2700) are single row pulling 24w at 2200 lumens each.

9/27 She made it through the rain! Looking great in the sunshine. I gotta bring the loupe over again. It's smelling really strong and it looks like most of the pistols have changed color. If I wasn't losing more to damage I'd leave it out longer. It will still be a couole days probably because I need to put away what's hanging and make room. This has been one crazy year. Forty degree temp swings. Crazy year and even crazier pot. Can't wait to try them all! EDIT: I've been trying like hell to update this thing. I've been working my balls off. I ALMOST took the last pink kush. I have a video i'm trying to upload on my computer because I can't even update ANYTHING on my phone. Boy this years weed came out incredible! I've been working hard but as soon as I have a second to myself and get everything at least inside i'll finish the harvest and smoke reports and give some good pics/videos. 9/28 Finally got a video uploaded. It was yesterday. The Lome pink kush is looking real good. I'm losing more and more to these insects. I want to leave this plant a little longer and have the buds come together but the trichs are cloudy now. Almost every pistol has turned a red color. I'm going to bring my loupe and check it out today. Everything has turned out fantastic. I'm looking forward to taking pictures.

Absolutely loving trimming her up was get some lovely lemony citrus scent from her looking forward to her to cure

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.

Massive stretch over the week

Week 8(Veg) This week the LST’d, Biggie smalls the wife calls her 😀, plant is really doing well. Tons of tops starting to form. I’m really getting excited about this plant. The wife and I rearranged the closet that I’m growing in. It looks much better and it’s easier to use than before. Also it doesn’t look so half ass’d. Couple more weeks of veg for this girls and then she’s going to the grow tent and into bloom. The normal plant will just be a mother.

Day 29 - What an absolute beauty she is. No need to defoliate or train this plant she does everything herself, she is growing at an incredible rate. Couldn't be happier with it. Day 31- received 2-8-10 top dress. She's ready to take on the 🌎 now, can't wait for this one😋 Update Day 33-This beautiful girl is getting big. Love the way shes growing, not one single dot of a problem. Bud sites are forming, soon the buttons will appear. ✌️

11/29 Start week 3 Transplant day both into 5 gal pots both look fine. Feed at 800ppm till water filter installed. Training sometime later in week 12/1 Going to try a ponytail on them, doing Ripley now, Tara later 12/5 Contining ponytail - Feeding to once per day at lights on 1 qt (liter) 800ppm, runoff = 1 cup (25%) each

Recovering just fine from the crash! I have another of exactly the same seed, critical +2.0, in a pot next to it (but a 20L pot) and they are currently the same size/doing as well as each other. Because the can is quite long I add a small amount of water from the top and also dip the can into the water to feed from below. At the bottom of the can I made around 15 small holes across the base, and there are stones covering perhaps the bottom 1.5cm of the can to further promote drainage. No ferts yet!

Topping appears to be working well. Began some LST via tie down to encourage growth to other branches.

The ladies are still doing great and stacking very nicely! The trichomes on both pheno’s are insane, super dense buds too. The leaves do look very very dark green with slight tip burns, so I dosed down the nutrients slightly from 1100+ to 950 ppm. The grow light makes the leaves look more light green than they actually are (check the night shots). Both plant smell super super sweet, not really blueberry (yet) though.

Check out the video! 7 weeks of flowering have passed. Tops are getting really heavy, I might have to buy bamboo support sticks soon. Resin production is insane as you can see. There was mold in one of the head buds and I had to remove a golfball-sized chunk. Some insect made its way in, died there and started rotting. I struggle to keep the humidity down and now I am watering every second day only. And i bought a third fan (typhoon) that blows warm air from the ceiling above the lamp back onto the tops. wish me luck for the last 4 weeks

Environment: Temperature: ~26 °C Humidity: ~65% RH Light intensity: ~350 PPFD Watering / Feeding: Watering frequency was adjusted to the plant’s needs. The pot was watered once it felt noticeably lighter. RO water was used, and one application of Greenhouse Bio Enhancer was added this week. Watering volume was slightly increased, as Amnesia Zkittlez showed a higher demand compared to the other plants 🙂 Observations: During week 3, Amnesia Zkittlez showed very healthy and steady vegetative growth. Leaf color remained a deep, healthy green, and the plant continued to be the most vigorous one in the tent. 🌿 The structure looks compact and balanced so far. No training was applied; instead, only light leaf tucking was done to improve light penetration while keeping stress to a minimum. Overall, the plant responded very well to the increased light intensity and stable environment. The focus this week was on maintaining stable conditions and letting the plant develop naturally. Everything looks on track heading into the next phase 😊