Per ora direi tutto ok, sembrerebbe un ottima foresta.

WEEK 6 -TIME TO DECIDE THE KEEPER PHENO ⭐️NUTRIENTS USED THIS WEEK⭐️ Front Row Ag Part A 2.8g per gallon Front Row Ag Part B 1.9g per gallon Front Row Ag Phoszyme.4g per gallon Front Row Ag Bloom 2.2g per gallon Front Row Ag CleanUp .2g per gallon End of week I will try to defoliate as much as possible one last time going into last 3 weeks. It has been a good run thus far. I’m contemplating just leaving them alone and not defoliating, but it’s what I’ve always done with great success. I was asked earlier in the week if I always keep my ph this low(5.5-5.6)? The short answer is yes. I’ve always done this and have never had a ph problem or nutrient lockout. If I tested the runoff solution, most people would freak out. Maybe I’ll do it in next weeks video…I bet it’s triple my input solution!!! I’ve trained these plants since seedling to take high nutrients and it’s paid off. Super Lemon Haze is a 9 week strain but I would bet they will go a full 10 weeks. I’m gonna push the last few weeks and put on the weight. I am shooting for 3 pounds per light. We will see. Thanks again for all the comments and questions. See you next week.

So far so good, pics are from the last 2 weeks. Not been on top of the diary this time, but will keep updated when I

This phenos taking off like a rocket growth is excellent she’s very healthy going into week 4 she’s starting to preflower

SEMANA DOS VEGE (12-05-2022) * Al día 15 desde que salieron del sustrato entra en el día 1 de la segunda semana de vegeta * Se agrega al riego 1m/l del fertilizante para vegetación de Laboratorio LAAOS, "Vegalquimia" * Al día 20 desde que salieron del sustrato, se le aplico LST a las 6 plantitas

Germino cerca de navidad pasada con muchas expectativas de este cruce las cuales ha cumplido muy bien, sabores muy ricos dulces, resistente a métodos de stress y trasplantes, se muestra en fotos tamaño de brotes compactos y carnosos, se pesa solo brotes sin ramas solo necesarias

The ninth week of flowering is now over and the last days of the ladies have begun. The stated 9-10 weeks flowering time is definitely correct. One plant of the Hardcore Zoap was ready a little earlier, but as I want to harvest everything at once, everything is left standing until the majority looks ready. I also preferred to harvest the plants a little more mature than too early. In terms of appearance, I like the Miracle Gushers flowers best, as they have a fine and compact structure. The Banana Creamz seem to be able to develop very thick flowers, whereas the Hardcore Zoap seems to have the lowest yield. I will be able to say more after drying and weighing.

Steady progress from last weeks update. Although I may have mixed two of the plants up and the one I think is red dragon could actually be Zombie Kush, but I’m sure that’ll show in the next couple of weeks, there are actually 2 Zombie Kush in there, the mix around came at the time of repotting, if a mix around there was, ah the mystery of it all😜 smelling great in there. The purple strawberry really does have an amazing aroma, and the blue fire og has a super stench, I thought it might be a bit more fruity but I’m not complaining. The gorilla Zkittles is just pouring oil, the leaves and buds are covered, it’s been sticky for a while now the smell not so intense. The Zombie Kush are looking great (1 especially but this as aforementioned may be red dragon🙃) The red Dragon is also looking really good and filling up space along the stems with bud, not so much of a show of trichomes as far as this one goes but theyre there🤤 the critical orange punch is also doing well but isn’t that great to look at, I’m hoping as the buds fatten they’ll tighten up a bit. The smell from this one is gorgeous though and no doubt it will make great smoke. April is looking like a good month for flavours🤤🤤🤤🙏🏻🙏🏻🙏🏻

Quebec Blast is growing good, she is starting to develop flowers, and stretching. She is the shorter one in the room. I am figuring a stocky frosty plant at end. 🤞 I get there with no major issues. A solution change of a gallon every 4 to 5 days has been my current schedule. Future grows I wanna try to keep roots higher up through pruning to allow more solution for better stability, and longer between changes. She is in a New Level Hydro bucket, under a Spider Farmer SE5000 light at 80 percent. Thank you Spider Farmer, New Level Hydro, and Quebec Seeds. 🤜🤛❄️🌱 Thank you grow diaries community for the 👇likes👇, follows, comments, and subscriptions on my YouTube channel👇. ❄️🌱🍻 Happy Growing 🌱🌱🌱 https://youtube.com/channel/UCAhN7yRzWLpcaRHhMIQ7X4g SE5000 https://amzn.to/3qFpAML Spider Farmer Official Website Links: US&Worldwide: https://www.spider-farmer.com UK: https://spiderfarmer.co.uk CA: https://spiderfarmer.ca EU: https://spiderfarmer.eu AU: https://spiderfarmer.com.au Coupon Code: saveurcash Www.newlevelhydro.com Www.hygrozyme.com

Week 3/4 preview of inside 3 tents. I’m learning how to navigate through ruff time amen Sundae it

What’s up boys and girls It was training week, pushed these girls to the limit. 6 of them got topped and bent over, they were not very happy with me. I hope it was worth it!! Mixed up a molasses based tea and gave that to them, seemed to help them bounce back. #organic#doesanyonevenreadthis# #canada

Well, six months later the indoor side of the grow has finished. A final timelapse is up, capturing the last week of the plants' lives. I'm quite happy with this grow, aside from some foxtailing at the end all went extremely well. UKBS 1 with the frosty, insane smelling quality flower and Carl 1 with giant, luscious buds that smell very fruity. I'll post a harvest week once they're trimmed up, and of course review the strains once they're smokeable. I'm quite ecstatic about the weight and quality of this grow. This diary will continue, as the outdoor plants are still going strong. (of course) - However there will be no more EOS t5 pics until they head into flower in a couple weeks to a month here. updates come throughout the week, as per usual :p Thanks for coming.

Harvest Report: The Swift Journey of Blackberry Auto Greetings, fellow cultivators! The moment we've all been eagerly awaiting has arrived – the harvest of my Blackberry Auto. This beauty has moved through her life cycle with astonishing speed and grace. Let's take a moment to reflect on her incredible journey from seed to harvest and celebrate the fruits of our labor. Seed to Sprout: It feels like just yesterday when I planted the tiny seed of Blackberry Auto. Nestled in a Root Riot cube, she sprouted with vigor, her first delicate leaves reaching for the light. The conditions were perfect, with temperatures at a steady 28°C and relative humidity at 95%, creating an ideal environment for her early growth. Transplanting and Early Growth: As she transitioned to a small pot filled with rich soil and Mycor Mix, Blackberry Auto continued to thrive. The Mycor Mix, with its blend of various mycorrhizae species, worked wonders in enlarging her root system and facilitating nutrient uptake. Her early growth was nothing short of spectacular, setting the stage for the robust plant she would become. Rapid Vegetative Phase: Blackberry Auto quickly outgrew her initial pot and was soon transplanted into her final home – a 16L AutoPot. This setup allowed her to drink as she pleased, supported by the precise hydration of the AutoPot Aquavalve. With a foundation of Aptus All-in-One Pellets and Mycor Mix Soil, she had everything she needed for explosive growth. Her leaves grew enormous and lush, and her branches spread wide with gentle low-stress training. Swift Flowering and Stunning Development: Entering the flowering phase, Blackberry Auto didn't slow down. Her buds formed quickly, each one a masterpiece of nature. The colors were a sight to behold – deep purples, vibrant magentas, and hints of dark blue. The aromatic symphony filled the grow room, a testament to her potent genetics and the meticulous care provided. Natural Brilliance and Final Weeks: Observing her rapid progress, I ceased all feedings to let Blackberry Auto showcase her natural brilliance. Her final weeks were marked by a dazzling display of colors and an incredible pace of bud development. Each day brought new marvels, as her buds swelled and her trichomes sparkled like a constellation. A Heartfelt Reflection: From the moment she sprouted to her final days of flowering, Blackberry Auto has been a true wonder. Her speed and beauty have exceeded all expectations, and it's hard to believe how quickly she reached this point. This journey has been a testament to the magic of cultivation and the resilience of a well-bred strain. Acknowledgments and Gratitude: As we celebrate this harvest, I extend my deepest gratitude to @fastbuds_official for creating such a remarkable strain. To Aptus Holland, my main sponsor, your support has been invaluable in nurturing this beauty. A special thank you to Grow Diaries for providing a platform to share this journey, and to the community for your shared passion and camaraderie. 🌱💚 As we move forward, I eagerly anticipate the trim and smoke reports, where we'll dive into the sensory delights of Blackberry Auto. For now, let's revel in the joy of a successful harvest and the extraordinary journey that brought us here. Genetics Blackberry Auto @Fast_Buds Food - @aptusholland @aptus_world As always thank you all for stopping by, for the love and for it all , this journey of mine wold just not be the same without you guys, the love and support is very much appreciated and i fell honored and blessed with you all in my life

she likes the heat a lot, i added the co2 on the 21st day, i saw all the difference in the next hour, it's amazing how they can store so much light/she likes the heat a lot, i added co2 to the 21st day, i saw all the difference in the next hour, it's amazing how they can store so much light * I still have not turned on the HLG 300

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.

The weight documented above is dry weight, not wet weigh. I wouldn’t dare disappoint myself by doing a wet weigh.