11.8 - D50/F2 - Things with these two are swell. The massive leaf duo are on 12/12 now and separated into different tents on 11.8. I kept the smaller of the two in the 5x4 with ten other 5 gallon plants. Hoping this doesn’t lead to too much crowding, but have started to set 14” support rings to help with training. The larger one is in the 3x3 with four 3 gallon plants, including two autos that should finish well before the 9lb becomes unmanageable I mulched with Organic Maine Enriched Mulch so hopefully lose less water to evaporation, then dosed with a new product by NLS as an amendment to boost flowering. The ingredient list on this pack is amaze and you can’t even begin to imagine how it smells haha. As I’ve said before, their products “stank so good”. 11.10 - D52/F4 - All defoliated and stretching!

98 dias de vida, vamos aumentando la cantidad de terravigor y terrateina, y el producto estrella de terranabis el Terpesyn que hace que los cogollos brillen de la resina que sacan. Estan floreciendo muy fuerte se esperan grandes resultados, aunque esta semana se predicen tormentas vamos a aguantar con todo lo que venga

Last time im growing this INDOORS. plant is waaay too big for my tent, she finaly is flowering now and ill have to keep pushing her under the net because it cannot go any closer to these leds.

8 - 14 septiembre Se inicia quinta semana de floración buena formación de cogollos y excelente aroma se percibe por todo el patio de mi casa

Whats up yall! We're here at the end of week 6 in flower! Some rearranging and formula shifts have occured as we head into the final push of flower. 7 plants are being fed 3.6/1.5/1.5/0 part B while the others continue the Jacks full strength plus 1.2 MKP. I have also began giving recharge and molasses to the plants every 10 days instead of 21 - I've read/watched/listened to some people and it sounds like more microbes can be good and at worst, not harmful. At this time, GDP seems to be first up with Platinum OG or Purest Indica on deck. Permanent Marker and Bag Seed [to be named] should be next and finally Pineapple Express #3. They're all at least 2 weeks away from harvest/flush and I will be monitoring trichome development closely to determine a target harvest day. The remaining 5 need closer to 4+ weeks before they're ready to be chopped. Things are looking good and are moving along very steadily! I cannot wait for the end of the month! Until then, I will see you guys next week. Feedback, comments, and questions always welcome! Next time I see you it'll be 420 😎

98 days from seed :) the girl looks really great:) her flowers are getting bigger every day :)!!!!! Those purple leaves look Very pretty:) this is my first purple lady:) the girl drinks 4 liters of 6.3 ph water every 3 days:) good luck to everyone.

Notas/Registos: 25/06/2025 - Fiz rega "A" com Ph 6.5, e aplicação foliar "B". 28/06/2025 - Fiz uma rega com agua mineral, livre de cloro, Ph 6.2, cerca de 1L por vaso. Fiz o primeiro lollipopping para melhorar a circulação do ar na base. Vou esperar responderem para aplicar a rede Scrog na proxima semana.

💩Holy Crap Growmies We Are Back💩 Well growmies we are almost there , she got flushed so her days are numbered💀💀💀 👉 Shes a short chunky little plant,😉 Lights being readjusted and chart updated .........👍 Even with early major issues due to the soil/medium she's come a long way 👈 👉I used NutriNPK for nutrients for my grows and welcome anyone to give them a try .👈 👉 www.nutrinpk.com 👈 NutriNPK Cal MAG 14-0-14 NutriNPK Grow 28-14-14 NutriNPK Bloom 8-20-30 NutriNPK Bloom Booster 0-52-34 I GOT MULTIPLE DIARIES ON THE GO 😱 please check them out 😎 👉THANKS FOR TAKING THE TIME TO GO OVER MY DIARIES 👈

22-05-21 Se cambia la solución y se realiza un lavado de raíces. Para bajar la conductividad de las raíces de 0.81 a 0.2 ms. Se añade una pastilla de CO2. Última semana no se abona nada y se baja la temperatura a 16 °C. PH de 6,5 23-05-21 PH 6.5 Conductividad 0.29 ms. Se baja la temperatura de 24 a 15 °C 24-05-21 PH 6.5 Conductividad 0.44 ms. 26-05-21 se deja sin riego y sin luz 48 horas antes de cosechar

she grows healthy ... she is in her last weeks outdoor ... the days are cloudy most of the day ... with the substrate mills he has .. he feeds every 10 days with red guano and earthworm humus

Ok

Vendanges en deux parties pour avoir différents effets. Après 8jours de séchage cette dame pesée 46g. Fumé douce note de fruits et de hash.

Bang on the start of week 5. Slap n tickle is by far the lankiest girls in there out of the 3 strains I’m running. Topped and lst training has began. Also got A mutant that’s not taken well to topping and has been a slow grower the whole way though, So I’ve left that one Alone as there’s no branches to play with. Think I’ve overwatered them that’s why some look a bit sad (I hope) lol.. but wanted to wet the soil as been transplanted with only a light watering. All in all not looking too bad, taking well to training although there a bit longer and lankier than the rest!!!✌️🏼

The bud smells like candy in a jar! Very impressed with how this lady turn out, took her a little while for the buds to fatten up but I’m glad I gave her a little extra time because she definitely filled out more! Buds are extremely dense & sticky and definitely has a couch lock high! Can’t wait to grow this again using a full nutrient line & see how she does! Make sure to go check out Doctors Choice for some amazing genetics! Thanks for following & happy growing friends!🙏🏼✌️🏼🌱

Waiting on a full plant hang dry so will wait at least two weeks maybe three hope ma vegging station holds up n can dae tge damage the now as av said guys this is definitely not the perfect set up am not on good terms with land lord so basically squatting here lol and growing and a got caught with one in this house the land lord doesn’t even know lol 😂

Bis jetzt läuft alles gut überlege nur wegen nochmal bisschen entlauben die Tage

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67 days since April 16th, 2026 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.

Progressing well this week. Just watering and waiting. She's on autopilot now. 💪 😎