Change Friday. First week of flush

Aug 1st Topped her

Think these girls are about ready gonna check trichomes and see where we’re at but not far I reckon.

☘️

So here we are, at the end, a few months later. I was so happy that I'll finally grow a plant without any training at all, just to see the full and uninterrupted genetic expression. It was a blast to grow her, I can't wait for the plant to dry and give it a few weeks of curing but she smells great already. I also wanted to thank Divine Seeds for the contest strain and Bio Tabs for great Bio fertilizer. You can judge for yourself because I'll let the photographs speak for themselves. Speaking of photography, I went with a moody style this time, because she has a great structure. I've trimmed her a little bit here and there and I've left a few big fan leaves on both sides for better looks. The big fan leaves reflect the light so well, it make the whole plant shine. Okay now head to the gallery and let all that sink in ;) XOXO Cremo

Hello Growmies, Week 3 for our Watermelon Candy by Zamnesia is unfolding with promise as we observe their transition through pre-flower. Opting for low-stress training over topping, we're guiding their growth gently to maximize their potential. The plants have gracefully reached our SCROG, and with two already skillfully trained, they are demonstrating adaptability and robustness. Through the canopy, we see an even spread of foliage, indicating that our LST approach is on point. The structure of the plants is sturdy, showing that the careful maneuvering through the SCROG mesh has been well received. The greenery is lush, leaves are perked up, reaching for the light—signs that our Watermelon Candy plants are in their element and thriving. Our environmental management has mirrored the successful strategies implemented with our Epic Buzz and Red Banana Pudding strains. Daytime conditions are meticulously controlled, with the Tent-X system maintaining VPD within the ideal range for healthy plant activity. However, as we've noted with our other strains, our nighttime VPD control presents a challenge. The data indicate a discrepancy in maintaining optimal humidity levels when the lights are off, suggesting that our current setup is not fully regulating the environment during these crucial hours. The intention to integrate the Smart Mars Hydro fan into the Tent-X system is a move towards rectifying this issue, with the aim to achieve a seamless 24-hour environmental control. The transition to this enhanced system will ensure that our Watermelon Candy plants receive the same level of consistent care throughout their entire growth cycle. Their current robust state and the proactive steps we are taking to fine-tune their environment have set a strong foundation for the weeks to come. We will continue to monitor their progress closely, making adjustments where necessary, and anticipating a bountiful flowering stage ahead. Stay lifted, salokin

Last auto i'll grow , autos are actualy good for fast and not so heavy stoners , my yield is good but not the way i want it , so i'll keep improving my shit , starting with femenised seeds next run also a blueberry , first femenised im going to use , so lets hope it will have a better harvest. Overall this autoflower blueberry yielded the most of all my autoflowers , dense buds , good quality and very fruity smoke!

Incredible buds on these girls and super dense strawberry gorilla.Smell is unbelievable strong and it’s like a little slice of heaven inside the tent.Will harvest these two girls together.

Day in and exit fan 15 min off 15 min on Van is full on Night in and exit fan 30 min off 15 min on Van is off Lst tranings return Nutrients started 0.5gr/1L at day 21 400ML Per Pot Day 24 Grow powder 0.75gr/1L Short Flowering 0.5gr/1L 400ML Per Pot Day 26 Grow Powder 1.5gr/1L Short Flowering 1gr/1L 600ML Per Pot Day 28 Grow Powder 1.5gr/1L Short Flowering 1gr/1L 600ML Per Pot

Flowering Day 3: This lady has been continuing to impress with her fight to be top dog. Her flowering is well underway now and i am hopeful she will produce better than her mother. I fed her too much N as she was part of a res supplied feed that i couldnt lower for her finish as i still had too many that needed full strength. Seeing her structure after the quad has already given her a better chance of more mains and the node spacing is way better than her mom. The actual Flowers are a nice ball shape emerging from the tops too. These should hopefully become the baseball bats advertised in the sales patter ! Surely One of us on here will get a good pheno of this strain?????

So this round I just lollipopped and didn’t strip the top at all, with better veg next round it’ll work better but I’m having issues with some plants not quite trellised how I’d like. Everything smells great, BCS,BD and WM are getting fat and PKB is frosty and tight. Watering is more of a chore than I’d like I think I’m just going to use some 5s for the next round . Thanks for following along I hope your buds are fat and frosty.

Just another week of fun and games.

Currently waiting for the soil to dry out after the flush last week so only foliar feeding . It seems to be helping, I need to put aside a few hours to give both my remo chemo and purple CBD some love. Both got lockout from salt buildup and I need to sit down and trim any dead growth, some light LST and TDS and pH the runoff. The old growth is yellowing fast on this one so it better be soon! Otherwise she will lollipop herself! Day 70 - fed nutrients and pH water 6.2. Looks like I will have to do a bit more topping, she's stretching for the sky! Day 66- no water no food, just letting her dry out a bit as I suspect root issues, she's stretching to the sky though so aside from the nitrogen deficiency we're looking good! Day 68- she had dried out nicely, gave her some fish mix and liquid seaweed, 3ml/l and 4ml/l respectively, 2l feed. Have trimmed dead and dying growth. Just going to leave her to it for a week or two

Week - 4 - Thus far everything is running fine. Dropped a 4x4 Ac infinity net for better light coverage and introduced an Exhale 365 Co2 bag. *End of Week 4 (Recap) - 08/21 Thus far all running smoothly - 1.5 - 2.0 Inch growth from Canopy C02 bag running ( 2 weeks ) Pulled into trellis Light Defo - Heavy nute feed

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.

ॐ LSD - Barney's Farm 11L pots, 720W led, Remo Nutrients "Bedroom setup" 3rd week of vegetation from 9.3.2026. to 15.3.2026. This week i did topping, defoliation, and also wireing, every day im spreading them by pulling wires. Girls are healthy and took topping with no issue. Take care and much love :) ॐ

Start Woche 8 (Start Blüte) Von gestern auf heute wurde auf 12/12 umgestellt. Es kamen nochmal ein paar Lst Clips rein und die 2 Lage Netz wurde vorbereitet. Zudem wurde unten herum mal etwas Luft gemacht.. Ansonsten muss ich sagen Gefällt mir was ich bisher sehe. Schön kräftiger, buschiger Wuchs🥀💪 Zudem Bekam die gute heute wieder 4l Wasser mit Green Bull. Ich denke sie bekommt Ende der Woche dann das erste mal nen Composttee🍀🍀 Licht ist bei 900ppfd bei nem VPD von 1,3 Tag5 Blüte Heute gab es 3l Composttee (50g Biotabs PK Booster Compost Tea, Melasse und Wurmhumus; 36h angesetzt) und es wurde nochmal entlaubt. 2. Netz kam auch dazu.

End of week 4 and they are smelling strong and pumping up. Getting frostier by the day . Max light now and cooler temps through the bulk up . The slightly smaller pots seem to run out of nutes fast but I’m a livht feeder so there’s some lighter leaves . Still putting out and popping off . Let’s goo