Hello everyone week 5 of flower has passed for this Vanilla Latte auto 🍼 For the feeding schedule i stopped feeding Power Roots and Pure Zym and started feeding Green Sensation 0,5/l Mars hydro FC-E6500 75% have a great day and wish you all happy growing 😎👨‍🌾🏻

Welcome to Week 5! The tent is getting really full and all plants are looking healthy with a great green color. No signs of nutrient deficiencies, overfeeding, or pests. - Auto Ultimates (Back Left, Back Right, Front Right): The back-left plant is currently the biggest auto and is already showing visible white pistils, officially starting its pre-flowering stage. The other two Auto Ultimates are catching up nicely, looking vital, and I expect them to push out pistils within the next few days. - Lemon Kix (Back Middle): Growing very strongly with an active top. No visible pistils yet, but the structure looks amazing. - Runtz × Layer Cake (Front Left) & Big Bud (Front Middle): Both photoperiodic plants are doing great. Runtz has an amazing dark green color and is branching beautifully. Big Bud recovered perfectly after the transplant, showing healthy new growth. Keeping them in the vegetative phase for now.

What up grow fam. These 3 finally got the chop. Wow do they smell pungent. The flowers came out nice, not to dense but neither airy. The wet weight for these came out to 912g. To say they're coated in frost is an understatement looking like a winter wonderland.

The one it started as mutant looking sweet as ever still some signs but happy as Lary 🤗

Venga familia que ya viene la cosecha de estas Pink Runtz de RoyalQueenSeeds , que ganas que tenia ya de darles machetazo. No veas que pinta que tienen estas plantas. Las flores aparte se ven bien resinosas, y con unos tonos muy llamativos. a sido una genética con la que disfruté mucho cultivarla, es algo complicada cultivarla pero merece la pena si eres cultivador con experiencia no te será problema cosechar. Hasta aquí es todo , espero que lo disfrutéis, buenos humos 💨💨.

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Day 56: Nothing special this week other then I found out another reason for the stretching of the plants. I don't know where i was of what i was doing but suddenly it came into my mind. Well normaly i use seperate veg and flower basic nutrients. This time, I used a new basic nutrient i never used before. This basic nutrient has veg and flower nutrients for the whole cycle. So the growth of the plants has been stimulating for to long. This is fun when you grow huge plants for a long time, not if you plan to only veg for 3-4 weeks, 1-2 weeks preflower with maybe 6 to 9 weeks of flowering.

one tank, the left side, went bad water... some kind of something in the water... some kinda growth or thingie.... so .... i went after the bad water tank hard... pulled it out... scrubbed the tank... scrubbed it all... the funny thing about this is.... these plants are both 50 days old.... haha.... i put em into a type of suspended animation .... lol they are just now starting to hook onto the solutions and are now both feeding.... the growth rate will increase exponentially over a short amount of time, now that they have both hooked onto the neut water and are growin roots thru the clay balls....... (look close at them, notice the first stage 3 leafs ? so u know what stage of growth, 3 leaf and 5 leaf and 7 leaf.... etc... so 50 days and u can clearly see the first stage 3 leafs... lol) (this probably has some major implications for growing food in space) 👍😎

exelente

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.

Purtroppo nessuna vendemmia per colpa di qualche ragazzo che mi ha rubato tutte le mie 9 piante gorilla Zkittlez- gelato- strowberry gorilla- wedding glue- purple punch-strowberry banana-Gorilla cookies- blackberry- mimosa cake....che male al cuore ragazzi quanti sacrifici non potete capire!!!!

Solo cup challenge continues to press along. Not much change, plants are in veg, growing and healthy. Still a few weeks before the flowers start so I hope to get a bit of size going before it does. Having fun and really like looking at the other entries in this contest. Check out WildeWeed, Butterstotch and BeanswithPork, silky, larimar, fireman

Day 29 of flower.

GG has been going well, a lot of growth this week, continue to tie her down , really good structure on her. Taken a few cuttings to clone, flipping to flower.👏🤞👍

La semana va bien, pocos cambios, e notado que han crecido mucho. Esta semana será el pico de nutrientes para después empezar a bajarlos. Están consumiendo más agua que nutrientes, el EC hace 3 días permanece estable, pero consumen casi 8 litros en 3 días.

Gave both ladies a topping. Will be pinning down the bottom leaves in a couple of days. Will be doing a whole lot of topping for these girls. Things are really heating up so should pick up the pace here

Día 1 y todas geminaron vamos a usar lst a todas y algunas lst y poda apical Día 5 desde puesta en sustrato Solo pulverizó

June 9: plant is doing great after first topping. Very hot and smoky again today. Did a foliar spray of Extreme Blend and potassium silicate, pH adjusted using Apple cider vinegar to about 6.8. Might have overdone it slightly but they’ll recover. June 10: foliar of soluble seaweed extract to help beat the 30 C heat. Still misting plants periodically to compensate for sub 30% humidity. I knew it was a hot spring, but holy fuck, 5.8 C warmer than historic average is crazy. June 14: rain day. Compost tea in video was left for 36-48 hours before use.

Critical x Animal cookies is growing great under the Hortibloom Solux 350. She got a solution change today. She has sone nice frosty colas growing. She is mid bulking now. Every thing is looking good at the moment. Thank you Hortibloom, and Ripper Seeds. 🤜🏻🤛🏻💪🏻❄️🌱 Thank you grow diaries community for the 👇likes👇, follows, comments, and subscriptions on my YouTube channel👇. ❄️🌱🍻 Happy Growing 🌱🌱🌱 https://youtube.com/channel/UCAhN7yRzWLpcaRHhMIQ7X4g