For LIQUIDS & NUTES ******GREEN BUZZ NUTRIENTS***** organic. Also i’m using their LIVING SOIL CULTURE in powder form! MARSHYDRO ⛺️ has large openings on the sides which is useful for mid section groom room work. 🤩 ☀️ MARSHYDRO FC 3000 LED 300W 💨MARSHYDRO 6” in-line EXTRACTOR with speed-variation knob, comes complete with ducting and carbon filter.

colas growing in tremendous amounts, she is happy 😃

nearing the end, always a bittersweet moment tbh! room smells so sweet like fruit punch and strawberries!!

Week 1 is going fine. I am going to grow this out to 3 feet and flip it under a trellis net. Apparently, Mos Cutty genetics are supposed to be fire. We had some stretch, but that was taken care of by adding more soil to the container. 10-11 Something I will go over in each of the grows is exactly what I use and exact amounts and ppm’s. Most of the time that I read other grows, it isn’t specific enough to mimic ( organically speaking). In the container ( 1 gallon): What’s inside the container exactly: 1: 1 Tablespoon 2-2-2 By Dr Earth 2. 2 Tablespoons earth worm castings 3. 3 Tablespoons Charcoal 4. 1/8 tsp recharge ( yes, I added it as dry amendment) 5. Mother Earth Soil

Well, it looks as if one of the 3 plants is a male. I live in denial for one more day and then I toss it. Not sure which plant it is, as I painted over the strain names when I painted the cups grey. Smooth. So I will find out soon. Otherwise, good weather and some good growth. Roots are balled up at the bottom of the dutch bucket reservoir, Im sure, because I let the drip go dry for a day or two and the plants were droopin (coco)

Great week all seemed to recover from transplant and lst! With new growth coming in No more signs of any knats either wich is awesome hopefully thats gone. Trying to keeping main branches at 10inches so i just lst them as needed DDS are way more resilient when it comes to training choco i dint have ti adjust much or many

Bonjour à tous les padawans et les maîtres jedis Pour cette semaine je prévoit de pratiquer comme technique spéciale le LST et juste un arrosage. Pour cela comme à mon habitude j'attend le cinquième noeud ou que je juge la plante robuste. Je profite que cette semaine qui va être relativement calme pour faire un LST appliqué et vous faire un rappel de ce qui est pour moi la meilleure technique pour arroser une autofloraison et la façon dont je pratique le LST. En suivant ces quelques simples conseils vous obtiendrez un résultat optimal tout au long de votre culture : Le cannabis est une plante qui n’aime pas recevoir un léger arrosage en continu. Il est impératif de l’arroser en grosse quantité, puis d’attendre que la terre soit bien sèche avant d’arroser à nouveau! Pour calculer la quantité d’eau nécessaire à chaque plante, suivez cette règle : Le volume d’eau à donner lors de chaque arrosage doit représenter au moins environ un quart du volume du pot !! Exemples : pour un pot d’1L, donnez 0,25L d’eau à chaque arrosage pour un pot de 4L, donnez 1L d’eau à chaque arrosage pour un pot de 12L, donnez 3L d’eau à chaque arrosage pour un pot de 30L, donnez 7,5L d’eau à chaque arrosage !etc… Pour donner un tel volume d’eau, il est souvent nécessaire d’arroser en deux (voir trois) fois, lentement et uniformément sur toute la surface. Disposez de bonnes coupelles sous les pots, celles ci se rempliront d’eau qui remontera dans le pot par capillarité en moins d’une journée. Il est également très important d’utiliser un bon terreau de qualité, avec une bonne capacité de rétention d’eau mais qui assure également un bon drainage (celui ci doit contenir de la perlite, et/ou de la coco, etc..) Il vous faut alors maintenant attendre quelques jours en sous-pesant régulièrement les pot avec vos bras. Quand ils seront redevenus très légers, vous pourrez arroser à nouveau !! En effet, comme l’eau pèse beaucoup plus lourd que la terre, un pot gorgé d’eau pèse plusieurs fois le poids d’un pot d’une plante prête à être arrosée. Avec un peu d’entraînement, vous apprendrez donc très rapidement à sous-peser vos pots pour savoir quand une plante a soif. C’est une technique à la fois très facile et très efficace, et qui peut être appliquée à toutes les plantes en pots ! En arrosant de cette façon, en général vous devrez arroser vos plantes tous les 3 à 6 jours. Pour cette semaine 3 au jour 17 ma plante fais 12 centimètres et son cinquième noeud apparaît je décide donc de pratiquer un LST sur ma plante. Pour ce j'utilise du fil de fer galvanisé que je plante directement dans le substrat en faisant attention de ne pas endommagé les racines car n'oublions pas que ce qui pousse dessus pousse aussi dessous. Jour 17 je pulvérise du une solution composé d'une cuillère à café de savon noir mou dilué dans un litre d'eau en prévention d'éventuels nuisibles. Je corrige mon LST suivant la pousse de ma plante ... Pour ma par c'est la manière dont je procède. Comme promis petit rapel de: Quand commencer à appliquer la technique LST De nombreux cultivateurs commencent la manipulation dés que les plantes possèdent entre 3 et 6 nœuds ou une paire de feuilles. Durant cette première étape de la croissance, le tronc encore flexible est pliable sans risque qu’il ne se casse, même si au fur et à mesure du développement de la plante il sera de plus en plus difficile de le plier. Nous pouvons continuer à guider la croissance des branches durant toute la culture, même durant la floraison, ce qui pour cette étape représente un grand avantage face à la taille, qui n’est pas du tout recommandé une fois que la formation des têtes commence, cela stressera en effet la plante, ce qui aura pour effet de retarder la récolte. Comment appliquer la technique de guidage LST Si nous sommes prudents, la flexibilité naturelle des fibres du cannabis permet de plier leur tronc et branches avec une relative facilitée, même durant la floraison des plantes. En utilisant une corde fine, nous pouvons accrocher la pointe de la plante à la base du pot par exemple ou à un tuteur que nous aurons planté dans le substrat. Nous plierons le tronc avec précaution et nous le fixerons avec la corde, à partir de là, nous pouvons augmenter progressivement la tension de la corde, chaque jour un peu plus, jusqu’à obtenir la position souhaitée. Soyez attentif à la réaction de la plante, essayez de ne pas appliquer trop de pression sur la corde et rappelez-vous que la flexibilité des branches peut varier d’une plante à l’autre. Pour obtenir de meilleurs résultats, il suffit de suivre quelques règles simples. Pour commencer, nous devons choisir une corde fine mais pas trop pour ne pas blesser les troncs au fur et à mesure qu’ils grandissent et qu’ils deviennent plus gros. Nous pouvons utiliser des crochets en plastique souple ou de n’importe quelle autre matière flexible pour éviter d’endommager les plantes. Spécialement en intérieur, utiliser des cordons en plastique de couleur (voir les diaries de @Silky) est très pratique pour voir facilement les accroches et faciliter le travail au milieu du réseau formés par les cordes, les tuteurs, les mailles ou les supports que nous aurons dans la culture. Bien entendu, en culture extérieure et surtout en guerilla nous ferons juste le contraire et nous utiliserons des matériaux de couleur qui n’attirent pas l’attention pour que notre jardin reste discret. Pour stresser les plantes au minimum, la mieux est de réaliser ces manipulations le soir ou juste après que les lampes en intérieur s’éteignent, ce qui leur permettra de se remettre durant la nuit. Normalement, le jour suivant nous pourrons observer comme les pointes des branches que nous avons pliées se dressent de nouveau vers le haut à la recherche d’une source de lumière. Que la force soit avec vous

Gracias al equipo de AnesiaSeeds, Marshydro, XpertNutrients y Trolmaster sin ellos esto no sería posible. 💐🍁 Violet Face: Esta variedad feminizada es como un dream team de la realeza del cannabis, que mezcla la majestuosa Blue Face con las frías vibraciones de la Frozen Black Cherry. Es como el perfecto día de verano: vibraciones soleadas con una brisa fresca. Blue Face aporta esa refinada magia Z, con notas cremosas de naranja y pastel de plátano que te harán sentir como si estuvieras en un paraíso tropical. A continuación, Frozen Black Cherry entra en escena con su aspecto escarchado y su aroma a cereza dulce y ácida que es sencillamente adictivo. Sube el volumen porque Violet Face golpea fuerte con niveles de THC que se disparan hasta el 35%. Cada calada es un billete al paraíso, que combina los lujosos aromas de la cereza con una embriagadora mezcla de dulzura y sabor afrutado. Violet Face no es sólo un estilo de vida relajado; también es una campeona de peso pesado, con rendimientos de 600 g/m² en interior y unos exuberantes 900 - 1200 g por planta en exterior. Esta belleza florece en 8-9 semanas, y está lista para la cosecha a finales de septiembre. Tanto si la mantienes acogedora en interior como si la extiendes bajo el cielo, Violet Face se extiende con alturas de 80-120 cm en interior y 160-200 cm en exterior. 🌻🚀 Consigue aqui tus semillas: 💡TS-3000 + TS-1000: se usaran dos de las lámparas de la serie TS de Marshydro, para cubrir todas las necesidades de las plantas durante el ciclo de cultivo, uso las dos lámparas en floracion para llegar a toda la carpa de 1.50 x 1.50 x 1.80. https://marshydro.eu/products/mars-hydro-ts-3000-led-grow-light/ 🏠 : Marshydro 1.50 x 1.50 x 1.80, carpa 100% estanca con ventanas laterales para llegar a todos los lugares durante el grow https://marshydro.eu/products/diy-150x150x200cm-grow-tent-kit 🌬️💨 Marshydro 6inch + filtro carbon para evitar olores indeseables. https://marshydro.eu/products/ifresh-smart-6inch-filter-kits/ 💻 Trolmaster Tent-X TCS-1 como controlador de luz, optimiza tu cultivo con la última tecnología del mercado, desde donde puedes controlar todos los parametros. https://www.trolmaster.com/Products/Details/TCS-1 🍣🍦🌴 Xpert Nutrients es una empresa especializada en la producción y comercialización de fertilizantes líquidos y tierras, que garantizan excelentes cosechas y un crecimiento activo para sus plantas durante todas las fases de cultivo. Consigue aqui tus Nutrientes: https://xpertnutrients.com/es/shop/ 📆 Semana 3: Muy buena semana, he aplicado un riego solamente con agua de manantial para reducir la cantidad de sales acumuladas en el sustrato y se ha notado una mejoria . Creo que le quedan unas dos semanas por estirar, parece que va a ser una buena cosecha. Se mantiene un buen control del cuarto de cultivo gracias a @marshydro y @trolmaster. Mantengo las dosis de 1/3 de nutrientes recomendados por el fabricante. Potencia del foco 80%

what a great strain! great yield and incredible scent! it grew very large buds, due to bad weather and high RH i sadly lost a few of the biggest buds, but still got an awesome yield

🦍🤩🍀🍀

Really massive buds.. 108grams dry buds

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.

Update coming.

Now in week 5 of flowering. Increased the LED power to 420 W and watering about 3 L per day. The strains from Fast Buds are really fruity and aromatic.

Just switched to 12/12 lighting the other day so hopefully we’ll be seeing signs of flower

Going into week 4. After. A transplant and at the end of week 3 they have seemed to recovered and are doing great. I’ve noticed that they “pray” towards the light so they seem to be happy. Using 1ml of cal mag. When I water. Ph. 6.1 -6.3 of 90%RO 10% tap. Added the second mars hydro on day 25. Update last day of week 4 day 28. The ladies ain't looking too happy. Being hit by I imagine Cal mag deficiency. Even tho I was expecting it because of the RO water. It seems I didn't add the Cal mag fast enough. Hopefully.the 2ml/L or Cal mag. Will fix it. Last watered 250ml each of PH 6.2 water on 8/28

@twenty20mendocino Ateam R&D Update! Let’s Go!! What another great week it’s been ! Today is day 39 for all but the 2 Queen of Diamonds an 2 VSOPs got trimmed up a tied down for nice training ! Really opened them up a lot so we get all them heads hit, just wait to see how bushy these girls get, let’s get em big! Your not gonna want to miss next week’s update an see how these girls bounce back! Hope y’all enjoy Peace love and positive vibes to all y’all Cheers 😶‍🌫️💨💨💨💨🤙🏻