The stretch has definitely begun. No issues whatsoever. I turned the lights up to 250W and bumped the PPM to 950. Thinking about adding another LED to tent - these things are going to be out of control! The GSC in the 64L res is almost exactly on the same schedule as the 1L, which is 5 days older. the 1L is obviously in the lead in terms of size, but the 64L isn't far behind. I honestly think they'll both end up being almost identical...

Past 2 weeks shes developed dense boulder shaped nugs that run all through out the plant. Today was first day of flush so 5 days ish I'll be harvesting this beauty. Perfect timing for the greenhouse seed company competition that I've surprisingly been giving the opportunity. Happy growing.

Napriek počasiu vyzerajú ok..ešte sa chcem zbaviť malých popcornov,trochu defoliácie aby to šlo všetko do vrchu.mier

This strain is a cross between fire caké and black domina

Super burnt lol. Ooops I'll still finish her off and hope for the best. Should still be some decent smoke 👌This girl still particularly blows my mind. Beautiful terpenes on her. Incredible nose. 👏👌

Began week 4 yesterday and gave her a defol, she loved it! Her flowers are starting to look really pretty too! Honestly can't wait to harvest this lady.

Una semana más plantadas la menor parte el 28-12 y lo siguiente 18-01 , 1-2 lo último

First time growing an auto strain but turned out well. Great yield for one auto plant dried and cured Total height was 49.5” Used a 600W MH/HPS setup For side lighting I used a 4ft 54W T5 and about a 100W LED

At day 44 plants were watered with about 3 liter of fresh water w/o any nutrients. I measured TDS of the drainage, it was kinda high, about 1600 ppm. But plants in general seem to be in a good condition. I had to remove some leaves to improve air flow and give more light to lower buds. I think in a couple of days I'll add some nutrients for watering, so I'll update this week description. Only B.A.C. foliar spray was used by the end of the day. Both plants show that coloured genetics and look amazing.

Another week has flown by! The girls are doing great, cruise control this week as I have just been monitoring RH and temps. Trying to keep them as low as possible, I’ve been getting as low as 74 during the day and 68 at night. I finally took a look a look at the trichomes with my jewellers loop, lots of cloudy, and a few amber around the leaves and top colas, but still lot’s of clear trichomes. I’ve ordered myself a wireless/usb digital microscope to assist with the process, and looks like it will be here just in time to determine harvest day. 😎🎄 I started by eliminating the nutrients at the beginning of the week. I typically allow for 3-4 pure water feeds before I harvest, and at the rate they have been drinking, this should be enough to get through the 7-12 days they have before harvest. I don’t flush, but rather “rinse” with normal water amounts, allowing the plant to use up the remaining nutrients in the soil. This also allows me to recover most of the soil from my grows and reuse ♻️ with other soil mix. There has been great debate and a great deal of bro science out there for many years, but the recent studies suggest there is no difference in end result when it comes to flushing or using nutrients right until the end, if a proper dry and cure is performed. What do you think? What do you prefer to do? Thanks for reading this far, leave me a comment with your preferred method 👊🇨🇦❤️

well, she spent a week in the growing pot :) it seems the girl was not stressed :) hi, she looks healthy, a bit more leafy, but that's normal, after all, she came from the balcony :D every day I remove a few leaves, because there are a lot of them, she still has a week left and will be cut off: (I would like to give her a little more time, but I'm going on vacation and I don't have anyone to leave such work :) so I'd better cut it earlier :).

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This is more of an equipment gathering project-first grow so I want to keep it simple and budget friendly, I ordered autos for my first grow but Oregon Elite Seeds sent a free gorilla Girl from Sweet Seeds. Super psyched for my first grow! Day1. Soaked seeds for 4 hours in bottled water, used paper towel method with 100% sprouts within 18 hours inside dark tent at 80 degrees (heater and air purifier) and 40% humidity. Hoping to plant directly into prepared soil (6.9 ph currently) in 24 hours. Day 2. Planted Critical OG Kush and Blackberry Autos 1/4 directly into 8 gallon cloth pots (these are the wrong pots-they are wax lined but the pandemic made getting the aeration pots unavailable-I may have to transfer later). Very lightly watered. i prepared my soil mix and had it acclamated to the grow room. I opened the air vents at each end of the grow room and set heat to 78, placed a bowl of water for humidity and started oscillating fan for airflow. Planted Gorilla Girl in a tupperware dish till i can get something more suitable. I really need another light but shipping just isn't working out. Day 4: 1 OG Critical was culled do to lack of progress. Gorilla Girl hs been repotted and looks fine. The Blackberry are much leggier than the others at this point. I'm watering just enough to get to the roots with bottled spring water. Day5 : the girls just woke up-posted pics. 1 light and 6 plants is not ideal. I'm not sure if I should put the strain that is naturally shorter under the light directly or focus on the tall ones getting enough light to not stretch. Comments appreciated. Day 6: Ligthts off after a 20 hour on cycle. I was concerned that my light insn't adequate spacially. I dropped it down to 15 inches above the seedling and got it tropical in the tent. I also used a 6500k 15 watt shop light for added light color and they enjoyed it, except for 1 had a bit of yellow. I will post photos when they wake up to see how they look after this light/heat/water boost for 20 hours. My Gorilla Girl is the only one that isn't above 2 inches. That one was planted deeper (1 inch instead of1/4th like the others. I did have some "seed helmets" so next time I will go a little over 1/4 inch deep. Qweeby's roots grew like a wad instead of down. I've had to readjust her placement twice because the roots act like they want to be on the surface. I'm excited to see them in 4 hours. I may cull one and start a different seed. The Blackberry Kush is stretchy which seems nice for a new grower like me. I am trying to limit the stretch so they match the Critical OG height but they are hearty toddlers. Day 7: Added a 3000w LED off ebay. I didn't account for the rise in heat but it only got up to 84. Raised it from 18" to 20" and got more air flowing through. One plant has a little yellowing from the inside of the main leaves (inside to out) but it's barely there so I'm going to check PH meter and easy watering since yesterday I did water more then I have thus far-so it could be a little root lock from too much water.

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.

It's working fine.

It's been a pretty easy week. Enjoying watching the buds get thicker! Just going to coast to the end at this point....hoping to harvest within the next 2 weeks. Already getting excited for my next grow...thinking Ethos Planet of the Grapes or Ethos Crescendo.

Day 118 Mon PH 5.9 EC 0.5 DLI 12h PPFD Water 16-24c

She is doing her thing gave her a good defoliate again to open her up. She had 3 x half ml doses of pk on top of 3ml bloom over the coarse of the week. Pk dropped bloom kept at 3ml. Overall very impressed halfway through this week in the video and boom baby she’s getting there

She's started to swell quite abit now, smell is like a nutty sweet smell and I can't wait for this lady to just mature a bit now think maybe 3 to 4 weeks? We shall see how she gets on, happy growing and stay green ✌️ 💚 👌