This plant was planted a week after the other six plants in the tent and she stretched very good during the first week of flower, in veg I saw she was gonna get big fast, she grows super fast and ended up the same size if not bigger than her sisters, very recomended strain, amazing powerful smell, very strong cerebral happy high, I enjoy a lot sativas, diesel it's not my favorite flavor but it's definitely awesome for everyone specially you diesel fans! Congratulations to Gea Seeds providing amazing quality strains to the growers!

WE HAVE MITES. I was looking at trichomes and I saw one walking. It looks like they are not spider mites but they are eating the leaves……. I bought predator mites they last 2-3 weeks I will take them out next week so they can die and they can get washed in the trim process. The Sensi bloom I powder so I am feeding 6.1 grams in the solution. This solution is about 11 Liters per day. The buds are exploding. You can see them pop daily with this overdrive. It is truly the magic in the end the buds get super hard, and THICK. I am supposed to be also using B-52 but I ran out and I don’t want to open a new bottle for just one week. So I will buy some next spring.

Siamo a metà fioritura

So I am halfway through my first harvest and I'm starting to feel like I may have been impatient! Would appreciate any advice or constructive criticism from any experienced growers out there! Do you think I harvest the rest of my plant now or leave it a while? Any tips/hints on the best way to maximize bud density? Thanks in advance

Our journey is slowly coming to an end. Both Gelatos have developed well, and I'm looking forward to testing them soon. The smell in the box is mind blowing 💚💚💚.

Day 23: Both plants are still recovering from the strong pre-fertilization of the soil. Pheno 2, which was weak since it pierced the surface still has a very hard time. I wonder if it will recover eventually... Day 25: Pheno 1 shows first pistil hairs. Day 27: Even Pheno 1 showing curled down and dark greenish leaves, albeit nothing was fed. This strain seems to react sensitively to pre fertilized soil. Day 28 (end of week 4): Tips of every shoot showing first real signs of flowering. I will wait at least another 1,5 weeks until I will apply minimal dosages of bloom and top max. Also pheno 2 (weakling) is now showing pistils. Still it's growth is in slo-mo and looks weak.

Soweit so gut, ist jetz am Trocken bei 16°-22° und um die 50% Luftfeuchtigkeit. Nach gut 8 Tagen waren es 51g trocken👍 Ist jetz zum aushärten in Gläsern mit 62% Boveda. Geschmack ist nicht so kräftig und geht eher in die erdige und ganz leicht Zitrone Richtung. Leider sehr luftige Buds mit vielen Blättern dazwischen. Rauchbar ist es auf jeden Fall aber ist eher nix für mich. Meine Cherry Pie von Weedseedsexpress ist da schon eher mein Geschmack.

I've just tied down properly and defoliated they responded well to the topping, switched from fish mix to biogrow and added just a touch of bloom also this week today is day 37 roll on next week

Looking good the 3 in front are a week behind the two in back! Buy chance 2 should be typ 1 hight THC plants and 2 should be type 3 plants 50/50 THC/cbd

Update - Tuesday 22nd June To be honest this week hasn’t gone great. I noticed some fruit flies or fungus gnats. There are only a few and they don’t seem to be attracted to the buds at all. None the less for the moment I have put some cider vinegar, soap and water and put t in as wide a surface area as possible and there are quite a few stuck in there after a day. Iv also ordered some of those sticky traps to put around the edge of the pot. Luckily I’m getting rid of my media, the tent, everything inside the tent and will be using a paint spray gun to spray ozonated water or if it’s really expensive then just hydro strength hydro peroxide will be used to spray all surfaces of the room.

* Day 48 * Tiger Bloom, Recharge

Lfg growing so healthy and looks strong,I made them a good defoliation and opened them as you can see in video,(3left will be done tomorrow). SANLight Working at 100% intensity.

-------------------------------------------------- Day 8 Water: 50ml RO water Humidifier: 65% (MID-MIST) Fan Speed: Mid-Low Light on @ 19:00 (23° celsius @ 76% RH) Light off @ 13:00 (19.5° celsius @ 54% RH) ------------------------------------------------- Day 9 Water: N/A Humidifier: 70% (MID-MIST) Fan Speed: Mid-Low Light on @ 19:00 (22.5° celsius @ 74% RH) Light off @ 13:00 (19° celsius @ ~84% RH) ------------------------------------------------- Day 10 Water: 50ml RO water Humidifier: 65% (LOW-MIST) Fan Speed: Mid Light on @ 19:00 (22.1° celsius @ ~75% RH) Light off @ 13:00 (19° celsius @ 70% RH) ------------------------------------------------- Day 11 Water: N/A Humidifier: 65% (LOW-MIST) Fan Speed: Mid Light on @ 19:00 (23.3° celsius @ ~70% RH) Light off @ 13:00 (20.7° celsius @ 66% RH) ------------------------------------------------- Day 12 Water: N/A Humidifier: 70% (MID-MIST) Fan Speed: Mid Light on @ 19:00 (23.4° celsius @ 66% RH) Light off @ 13:00 (19.9° celsius @ 70% RH) ------------------------------------------------- Day 13 Water: 150ml RO water Humidifier: 65% (MID-MIST) Fan Speed: Mid Light on @ 19:00 (22.3° celsius @ 72% RH) Light off @ 13:00 (21.5° celsius @ 67% RH) ------------------------------------------------- Day 14 Water: N/A Humidifier: 65% (MID-MIST) Fan Speed: Mid Light on @ 19:00 (24.5° celsius @ 63% RH) Light off @ 13:00 (22° celsius @ 65% RH) -------------------------------------------------

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.

This mother is gonna be grown out to see what she can do. Transplanted into 5 gallon container following the clone cuts. Will look for some stretch and try to get her 4+ feet tall. Happy growing, growmies

Ci siamo! Siamo arrivati quasi al traguardo...questi giorni le ragazze sono al loro massimo splendore e l'odore nella stanza e fortissimo! Anche questo aggiornamento è stato fatto grazie all'aiuto di mia madre che gentilmente mi ha tenuto e curato le bambine, sono contento perché sembra che è riuscita a seguire tutte le mie istruzioni e questa volta non ci sono stati problemi...è la prima volta che mi capita di competere in un contest e farmi mandare foto per mail..chiedo scusa se la messa a fuoco non è sempre delle migliori e personalmente non posso chiedere di meglio, è un lavoro che mi serviva e sono dovuto partire lasciando tutto indietro...tornando ai nostri fiori, il green sensation di Plagron devo dire che ha fatto la differenza, contando che il cibo questa volta è stato preparato interamente da me, ha fatto un ottimo lavoro e i fiori sembrano dirlo forte! Cercherò di aggiornare l'ultimo step prima della fine...tra due giorni farò tagliare le ragazze! A presto!!!

She slowly getting there, I guess... Her massive buds are getting heavier and I will have to set up support (some sticks maybe) to have her not break her stems.

Week by week, the terps are starting to smell better and better. I decided to run PK 13/14 for a few more days. I’ll be switching to Overdrive soon, but it still feels a bit early. Other than that, not much has changed. I brought the humidity down a bit and removed some older leaves that were damaged when I cranked the light too high. This week I also decided to get rid of a lot of the bud growth below the trellis, since I don’t think the light is sufficient for them to amount to much. Apart from that, the feed stayed pretty much the same: Rhino Skin: 1.7 ml/L CalMag → EC 0.35 Coco A: ~2.5 ml/L Coco B: ~2.5 ml/L Cannazym: ~2.5 ml/L Canna Boost: ~2.5 ml/L Canna PK 13/14: ~1.3 ml/L I diluted it down to 2.04 EC (it was around 2.15 EC).