They’re growing well. One of them is a bit behind.

Getting close to harvest now. Beggining to flush this week. Cant wait the buds are rock hard smelling fruity fuel. 😍👌👌☺️ #dutch passion #auto flower #led #glueberry og

Welcome to my Øpium diary. In this diary: Seeds: sponsored by Ðivine Șeeds Media: Promix HP Nutrients: Advanced Nutrients, Diablo Nutrients, Gaia Green Power Bloom. Light and Weather: Şun☀️and Mother Earth.🌎 ___________________________ Wet Weight: 1737 grams ___________________________ Wet Trimming with my trimming bowl was a humongous time saver!! ______________________________ Took me about 7 hours to wet trim ______________________________ I wanna Thanks Ðivine Seeðs for the Opportunity to grow and smøke your Ðivine Plants👊🏼😉 ______________________________ Thanks for stopping by, likes and comments are appreciated!👊🏻😎 Keep on growin! Keep on tokin!!! 😙💨💨💨💨💨

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.

Happy Growing These ladies are progressing nice, both the purple and green phenos smell amazing. They've stopped growing upwards so now the next few weeks will be cool to see the flowers forming and swell.

4-22-20: Ive added 2 tsp Tiger Bloom into the 1 gallon water feeding. Im still only watering 2 times max per week. Only feeding when pots are light. Every other feeding is room temp 6.5 ph water. 4-23-20: noticed some yellowing on lower fan leaf. Mixed up a gallon of Grow Big and equally divided it between 5 plants. Hopefully that stops it. And being so early into flower, a little nitrogen wont hurt or cause nute burn. 4-25-20: gave all 5 plants a trim. Plenty of light to lower bud sites and responding well.

Die Pflanzen wurden nach 9 Tagen im Becher in jeweils einen 19L Stofftopf umgetopft. Nach 14 Tagen wurden beide mit einem Skalpell getoppt. Bisher fand so gut wie keine zusätzliche Düngung statt. Ab jetzt wird regulär Dünger verabreicht.

So this one got vegged in a 2x2 tent then when she filled that tent up i had to buy a bigger one so when that arrived i swap her over and turned it into flower she the flowered for 9 or 10 weeks she was very easy for my first lot of indoors iv ever done i had no problems with the plant itself , smells super pungent and covered in tricombes and very sticky im super pleased with the results and i will defantly grow this one again and veg her out more in the big tent and fill it up , will update with dry weight and smoke report once its dried , i only cut her down today and gor her drying in the tent with 50 to 60 % humidity and around 18 to 20c

Hallo liebe Growfreunde 💞, Heute an BT 10 sieht alles super aus soweit, der stretch lässt noch auf sich warten🤔 malbsehen was noch kommt. Bin soweit sehr zufrieden, nur eng wird es langsam im Zelt 😅

Week 7: Two days post flip to an 11 on and 13 off light schedule and she is already showing pistols. She is loaded with bud sites and had zero issues bringing her into flower. I added a trellis net to the tent to help even her keep and even canopy. 8-9 week flower time so the next two months should be fun.

35 dias de actividad en el indoor, foto periodo de 20 horas de luz y 4 de oscuridad

Ottima crescita ora si è un po’ rallentata ma sono sane e belle

These ladies were heavy yielding - just wish the PK booster did not stunt them, I feel they could have even been larger, the buds are sweet and sticky, they smell amazing, they are hard and resinous - they have a beautiful mix of dark and light shades of green with bright orange hairs, very pretty, my friends are already in love with this weed, hits you like a Sativa and as the high lingers mellows like an Indica, I can't, wait to grow this again! The is an urban legend that occasionally a purple strain emerges, and when it does the outcome is legendary, just another reason to try this strain!

What up fam, weekly update on these absolute gorgeous girls. Nothing happing much this week besides the flower sites maturing more day by day. Over all its been like cruise control, still feeling 16oz daily. Happy Growing.

Week 6 and these girls got a scrog net added. As the plants are getting extremely heavy. Started to unfold an open up eagle spread style. So had to lend a helping hand. They got a scrog net added an the untrained plant got tied up from tents upper support bars an lower branches got some support also from the net. So far everything is going smoothly. The e680s light is putting in that work work

Temps are rising here and I am unable to cool the room that the grow tent is in with air conditioning… but despite this, with sufficient airflow throughout her canopy she seems to be thriving! I am extremely congested but I can still smell the buds when I open the tent, and the nugs so far seem to feel extremely dense.

Привет садоводы Кажется цветок вырос отличный, просто красавица и наверно он уже готов еще несколько дней после полива и финиш

6/7 - Day 78/Day 38 Flower Lower leaves continue to show signs of a deficiency but haven't been able to pinpoint what is causing it. I watered with a gallon of distilled water today in order to induce runoff. I got the following readings: - pH: 6.3 - PPM: 1530 - EC: 3.1 My PPM reading is about 120 less than last week which tells me that my girl is still feeding but not nearly at the rate that I would have anticipated this late in flower. I'm going to hold off on supplementing with any additional nutrients until I get down to 1200. Given how much time is left in flower (3 weeks), I doubt I'll hit that threshold before my flush. Going to continue just watering and watching pH. I've noticed that the smell has started to dissipate a bit over the last few weeks. I've had a stint of a few hot days where the tent was registering temps in the 90s. I'm hoping that I didn't compromise my terpene production. Only time will tell. 6/12 - Day 83/Day 43 Flower Starting to see signs that my leaves are entering the fade so decided to take a peak at my trichomes to see how close I am to harvest. I'd estimate the ratio of clear to cloudy trichomes to be at about 60% to 40%. Seeing a few amber heads but they are few and far between. Forgive the potato quality of the trichome pics - need to work on my photo technique. Based on the guidance from ILGM, the flowering period is expected to last 9 weeks and I'm right at the tail end of week 6. Given my current progress and how my trichs are looking, I'd expect that I'll be in a position to do a final flush next weekend. I'm going to hold off on feeding any further nutrients from here on out so that I can reduce my PPM count and have my girl ride out the remaining nutes in the soil. Based on my readings from early in the week, seems like there is still plenty of food in the medium. On a positive note, I noticed that the smell returned last night! Assuming I corrected the problem that cause the smell to dissipate over the last couple weeks - I am looking forward to a pungent yield in a couple weeks!