Here is what goes in it. The register, named once. The level, written per volume type rather than per building, because your galleries will not be the same shape and a single number cannot travel between them. Who calibrates, and when, which is the clause that actually determines whether the thing works. The socket and placement requirements, handed to the fit-out contractor at drawing stage rather than discovered at handover. The rule that a new gallery is aired and judged before any level is set, with no exceptions for a team in a hurry. The switch-off arrangement for any visitor or staff member who asks. And a review at each project, with a date on it. Eight clauses if you count the exclusion list separately, and you should, because it is the most valuable clause in the document.
That last point is worth saying plainly at the top. The most useful line in a scenting specification may be the one listing where nothing is scented. The kitchen or pantry. Stores and back-of-house. Anywhere finishes, fabric boards or material samples are handled closely, because a buyer should not carry your gallery home on a swatch. The sample apartment's bedrooms and bathrooms. The negotiation room, or the very least of anything. And any gallery that has not yet stopped smelling of its own fit-out - a timing exclusion rather than a permanent one. A specification that only says where to put machines is a shopping list. A specification that says where nothing goes is a document somebody has thought about.
Why write it down at all, when everybody involved already knows the answer? Because in two years none of them will be in the same roles, and because of drift. A fragrance level in a commercial space does not stay where you put it. Week one it is set correctly. Week three somebody says it seems weak and turns it up, in complete good faith, because they have adapted to it. By month four the gallery runs at a level no visitor would have chosen and nobody on the team can detect. A written specification is not bureaucracy; it is the only defence against a process that is otherwise guaranteed to go one direction.
The limits, stated where you will read them. I will not tell you that a scent sells an apartment, produces an enquiry, shortens a decision or influences a buyer - and a specification written on that premise is a specification that will be abandoned the moment somebody asks it to prove itself. The honest ceiling is improved evaluations of a space and its service, longer dwell and stronger recall of a space, at moderate effect sizes. And fragrance adds scent: no SOSA product treats, filters, dries, dehumidifies or purifies air, so the first three clauses of any honest specification are source, ventilation and cleaning, and fragrance is the fourth.
What is the most important clause? The exclusion list, and it is not close. The kitchen or pantry. Stores and back-of-house. Anywhere finishes, fabric boards and material samples are handled closely. The sample apartment's bedrooms and bathrooms. The negotiation room, or the very least of anything. And any gallery still smelling of its own fit-out, which is a timing exclusion rather than a permanent one. A specification that only says where machines go is a shopping list; one that says where nothing goes is a document somebody has actually thought about, and it is the clause that protects you from the enthusiastic version of this arriving at project four.
Why does the level have to be written per volume type rather than once? Because a setting is an output rate and an experience is a concentration in a particular volume of air being exchanged at a particular rate. A gallery floor at 2,000 sq ft and a 12 ft ceiling is about 680 cubic metres; a negotiation room at 180 sq ft and 10 ft is about 51; a double-height entrance at 800 sq ft and 20 ft is about 453 and people only occupy the bottom six feet of it. Those rooms will never behave the same way on the same number. You match the perceived level and the number is whatever it takes, so the specification fixes the method and the volume categories, and each site's numbers are written on that site's own card.
Clause two: the level, per volume type. Not one number for the business. Categories: connected gallery floor, lounge, negotiation or closing room, sample apartment living volume, and entrance or double-height volume. For each, the specification states the intent in words - what a visitor should perceive - and states that the numeric setting is site-specific and recorded on the gallery's own card. This is the clause that stops a well-meaning operations manager from rolling out one number to six buildings. You match the perceived level, never the setting.
Clause three: who calibrates, and when. Name a role, not a person, because people change jobs. It happens on site, after the gallery has passed the airing rule in clause five, using somebody who has been outside for at least ten minutes and does not work for the company. The question asked is open - what do you notice - never "can you smell the fragrance?", which plants the answer. If they can name what the room smells of, it is too high. Start at the bottom of the range and work up, never from above, because approaching from above means you stop too high. Write it down the same day: unit, room, register, exact setting, hours, date, calibrator. And state that any subsequent change requires a reason and a date, which is the entire anti-drift mechanism.
Clause four: the socket and placement requirements, issued to the fit-out contractor. This is the clause that saves money, and it is a page of the drawing set rather than a conversation. A live socket at the marked unit position, because the Vaayu at ₹11,999 is DC 12V / 1A, 5W and mains powered. A mount point and height if wall-mounted, out of reach and out of casual sight. A position out of the entrance airstream. A position clear of supply and return grilles but inside the room's normal circulation rather than a dead corner. A marked-up plan showing every door that genuinely closes during a viewing, because a coverage rating assumes one connected body of air and scent does not travel through a closed door. And a written line that no unit is ducted into air handling serving premises that are not yours, with any ducted installation requiring the written agreement of the people responsible for that system. Nothing here is HVAC or electrical advice and their decision governs.
Clause five: air it and judge it before setting anything. Every new gallery, without exception and without a shortcut for a launch date. A new fit-out is off-gassing - paint, adhesive, laminate, sealant, carpet, foam, new joinery - and fragrance adds scent rather than removing it, so a register run over that gives you both. No SOSA product treats, filters, dries, dehumidifies or purifies air. The order is source, then ventilation - more air, never less, and the specification should say in terms that ventilation is never reduced so a fragrance lasts longer - then cleaning, then fragrance. The test is a morning test: first thing, before staff, before anything is opened, before the air conditioning has run. State no number of days, because it depends on materials, air exchange and temperature, and in Lucknow the temperature variable alone runs from a May near 39.9 degrees C to a January whose days reach only about 21.4, with fog common through December and January.
Clause six: the exclusion list. Kitchen or pantry, always. Stores and back-of-house. Anywhere finishes, fabric boards or material samples are handled closely. Sample apartment bedrooms and bathrooms. The negotiation room, or the very least of anything - 180 sq ft at a 10 ft ceiling is about 51 cubic metres holding a few people through the longest conversation in the building. And any gallery that has not passed clause five. Write it before the inclusion list, because the document is read in order and this is the part people skip.
Clause seven: the switch-off arrangement. Any visitor or staff member who asks has a named unit switched off, that day, without a manager's approval and without anybody being asked to justify it. Sales staff stand in that air eight to ten hours a day, which is many times a buyer's exposure, and adaptation makes them simultaneously the most exposed people in the gallery and the least reliable judges of the level. A reported reaction is a recalibration signal, not a tolerance problem. No health or allergy claim is made in either direction.
Clause eight: review at each project, with a date. Not annually, which nobody does - at each project, because that is a real milestone in your business. Recalibrate, re-read the exclusion list, check the card matches the machine, and ask whether the register is still the right one for a portfolio that may now look different. Be willing for the review to conclude that a particular gallery gets nothing. A portion of every SOSA order supports girl-child education through Nanhi Kali.
If you do one thing this week, write the exclusion list. One page, and it will take twenty minutes. Kitchen and pantry. Stores and back-of-house. Sample-handling areas. Show-flat bedrooms and bathrooms. Negotiation room. Any gallery that has not passed the airing rule. That page is the part of the specification that will still be doing work in five years, because inclusion lists get followed enthusiastically and exclusion lists are what stop enthusiasm from becoming a problem at project four when somebody decides the pantry could do with a unit too.
Second, name the role that owns it. Not a person - a role, because people move. Whoever that is, they hold three things: the calibration method, the cards, and the authority to say a gallery is not ready. That third one is the one that gets quietly removed under launch pressure, and it is the one worth defending, because a level set on a building site is a level that then runs for the life of the project.
Third, a note on how to write it so it survives contact with a real programme. Keep it to two pages. Write the intent in words and the numbers on the site cards, never the reverse, because a number in a central document is a number somebody will copy to a building it does not fit. Avoid any language about what the fragrance does for buyers, because the moment a specification contains a performance claim it invites a challenge it cannot answer, and the challenge usually arrives from a finance director six months in. A specification that claims nothing cannot be disproved and therefore does not get abandoned. Say what the room should be, not what the room should achieve.
Fourth, put the Lucknow year into it explicitly, because it is a real operating variable in this city rather than a decorative one. Three settings per gallery on the card, one register. The hot dry spring, with April and May maxima near 38.2 and 39.9 degrees C and the year's humidity trough in exactly those hottest months. The wet monsoon, with July and August the wettest at roughly 238 and 242 mm. And the cold damp winter from late November to February, with January minima near 7.8 degrees C, January days only around 21.4, a record low of minus 1.0, and fog common through December and January. Two damp stretches rather than one, and a gallery that behaves differently in each. Settings change. The register never does, because in a business whose galleries keep being demolished, holding the register is the only thing the exercise was buying.
And print the switch-off line on every card, at every site, from day one. Anyone on the sales team can switch a named unit off without asking a manager.
The eight clauses - and why the most valuable one lists where nothing is scented
Three things determine whether a written specification survives: whether it fixes methods rather than numbers, whether it names where nothing is scented, and whether it claims anything it cannot support. Specifications fail on those three in roughly that order of frequency, and none of them is about fragrance.
Do the arithmetic once, centrally, so the volume categories in the document mean something. A connected gallery floor at 2,000 sq ft and a 12 ft ceiling is 24,000 cubic feet, which divided by 35.3 is about 680 cubic metres; at 1,200 sq ft and 12 ft it is 14,400 cubic feet, about 408; at 3,000 sq ft and 12 ft it is 36,000 cubic feet, about 1,020. A double-height entrance at 800 sq ft and 20 ft is 16,000 cubic feet, about 453, and at 1,500 sq ft and 20 ft it is 30,000 cubic feet, about 850 - large volumes that people cross rather than occupy, since a buyer is only ever in the bottom six feet of them. A negotiation room at 180 sq ft and a 10 ft ceiling is 1,800 cubic feet, about 51. A sample apartment at 1,600 sq ft and 10 ft with its internal doors open is 16,000 cubic feet, about 453; one of its bedrooms at 140 sq ft and 10 ft is 1,400 cubic feet, about 40.
Against the SOSA Vaayu at ₹11,999 and its published approximately 1000 cubic metres of connected air, almost every one of those sits inside a single machine. So the specification should say, in terms, that the machine is not the constraint and the setting is - because a document that lists equipment invites people to solve problems by adding equipment, and in this bank that has never once been the right answer.
Keep connected in the document as a defined term, because it is the concept the whole thing rests on. A coverage rating assumes one connected body of air. A door that is genuinely shut during a viewing ends one volume and begins another. An open stair or a removed partition joins two volumes and doubles the air a single unit is holding - and galleries love a void, so this will come up. A wide entrance onto a site road means the first stretch of the room is effectively outdoor air, which is a placement and lower-setting problem, never a reason to seal anything up and never a reason to reduce ventilation.
And write the review clause as a project milestone rather than a calendar date. Developers work in projects; a review scheduled for March will be missed and a review scheduled for each gallery handover will not.
Why a number cannot travel. A setting is an output rate. An experience is a concentration in a particular volume of air being exchanged at a particular rate. Volume differs between your galleries. Ceiling height differs, and it matters more than people expect, because the part of a room a person occupies is the bottom six feet of it and a 20 ft entrance puts most of its air above anybody's head. Aperture differs - a wide opening onto a site road cycling all day behaves nothing like a closing lobby. Air handling differs in how hard it runs and where the grilles sit. Soft furnishing differs, and a gallery of upholstery and carpet behaves differently from one of stone and glass. Any one of those breaks a shared number; in practice all five differ at once.
So the specification fixes the categories and the intent. Write the volume types - connected gallery floor, lounge, negotiation or closing room, sample apartment living volume, entrance or double-height volume - and for each write what a visitor should perceive, in words. Then state that the numeric setting is site-specific, arrived at by the method in the calibration clause, and recorded on that gallery's own card. That is the whole mechanism, and it is what lets six galleries feel the same while running six different numbers.
Write the method precisely, because it is the portable part. On site. After the airing rule has been satisfied. By somebody who has been outside at least ten minutes and does not work for the company. Open question, never one that names fragrance. Start at the bottom of the range and work upward, never from above. Stop at the first setting where the room has a character and the person cannot name it. Record it the same day. Any later change needs a reason and a date.
And write the seasonal structure in, because this city requires it. Three settings per gallery, one register, on the card. The hot dry spring with May maxima near 39.9 degrees C and the year's humidity trough in those same hottest months; the wet July and August at roughly 238 and 242 mm; and the cold damp winter from late November to February, January days around 21.4 degrees C, minima near 7.8, fog common through December and January. Two damp stretches rather than one. The register never changes - changing it seasonally destroys the only thing the specification was buying, which is that a room is recognisably the same room the second time somebody stands in it.
One line to keep out of the document. Do not write an equipment schedule that implies more machine for a bigger room without the volume arithmetic behind it. Most Lucknow galleries sit well inside the Vaayu's published approximately 1000 cubic metres of connected air, and a schedule that lists hardware by floor area invites people to solve perception problems by buying equipment.
What is on it. The kitchen or pantry, always and without exception, because where food is prepared the food is the point and the air stays out of its way. Stores and back-of-house. Anywhere finishes, fabric boards or material samples are handled closely, because a buyer should not carry your gallery home on a swatch and a supplier should not receive samples that smell of your reception. Sample apartment bedrooms and bathrooms - a show-flat bedroom at 140 sq ft and a 10 ft ceiling is about 40 cubic metres, one of the smallest enclosed volumes in this bank, holding one or two people at close quarters. The negotiation or closing room, or the very least of anything: about 51 cubic metres at 180 sq ft and a 10 ft ceiling, holding a few people through the longest and most concentrated conversation of the day. And any gallery that has not passed the airing rule, which is a timing exclusion rather than a permanent one and should be written as such so nobody thinks the room is banned forever.
Why it belongs first. Inclusion lists get followed enthusiastically. Nobody has ever under-implemented a clause that told them to install something. What actually happens at project four is that somebody sensible and well-meaning extends the idea to a room it should not be in, because the document never said not to, and the failure looks like the specification working rather than failing. The exclusion list is the only part of the document that constrains enthusiasm, and enthusiasm is the direction this always goes.
It also carries the honesty of the whole exercise. A specification that says where nothing is scented is a specification that has been thought about by somebody who is not simply trying to place machines. If you ever hand this document to a supplier and they seem uncomfortable with the exclusion clause, that tells you something useful about the supplier. Choosing not to scent a room is part of professional scent design, and a supplier who never says no is selling rather than advising.
And write the fourth exclusion that people forget: whole galleries. The document should say explicitly that a review may conclude a particular gallery gets nothing at all - a small transit gallery, a temporary structure with a permanently open front, a site office that is a six-minute stop rather than a room people occupy. If the specification cannot produce the answer "not this one", it is not a specification, it is a rollout.
A note on what the exclusion list is not. It is not a safety document and nothing on this page is clinical, food-safety, building or facilities advice. Where food is prepared, the kitchen and the applicable rules decide. Where a building's air is managed by somebody else, they decide. The exclusion list simply records the decisions your own business has already made, so that nobody has to make them again under pressure at the next launch.
The switch-off arrangement. Any visitor or staff member who asks has a named unit switched off, that day, without a manager's approval and without anybody being asked to explain themselves. Print it on every gallery card and say it in induction. The reasoning is straightforward: sales staff stand in that air eight to ten hours a day, five or six days a week, which is many times the exposure of any buyer, and ordinary adaptation makes them simultaneously the most exposed people in the building and the least reliable judges of the level. A reported reaction is a recalibration signal, not a tolerance problem - the level comes down or the unit goes off, and the calibration clause gets used again. No health or allergy claim is made here in either direction, and none should appear in your document either.
The review, tied to a project rather than a calendar. Developers work in projects, so a review scheduled for March gets missed and one scheduled for each gallery handover does not. At each review: recalibrate, check that the card matches what the machine is actually doing, re-read the exclusion list, confirm the register is still the right one for a portfolio that may now look different from the one the document was written for, and ask whether any gallery should be moved to the exclusion list entirely. Put the date and the outcome on the card. A review that produces no written change is still a review; a review that never happens is how a specification becomes folklore.
And the clause I would refuse to write. Do not put a performance claim in the document. Nothing about buyers, enquiries, site visits, decisions, conversion, price tolerance or units sold - not because it would be over-promising in a marketing sense, but for a practical reason that decides the document's survival. A specification that claims an outcome invites a challenge it cannot answer. Six months in, somebody will ask what it delivered, and if the document promised something about buyers the only available answers are a fabricated number or an embarrassed silence, and the clause gets deleted. A specification that says what the room should be - consistent, quiet, the same on a second visit - is describing something anybody can walk in and verify.
So write the ceiling into the document rather than a claim. Ambient scent research supports improved evaluations of a space and its service, longer dwell and stronger recall of a space, at moderate effect sizes. Recall of a space is not recall of a project. And write the order in, at the top: source, then ventilation, then cleaning, then fragrance. Fragrance adds scent and does not remove, neutralise, absorb, deodorise, dry or purify odour, no SOSA product treats, filters, dries, dehumidifies or purifies air, and ventilation is never reduced so a fragrance lasts longer - that last sentence belongs in the document verbatim, because it is the instruction most likely to be quietly reversed by somebody trying to be helpful in a closed-up January.
What SOSA does not publish, and what your document therefore should not contain. Consumption rate, refill frequency, monthly running cost, machine lifespan, minimum order or installation lead time. Do not let a specification carry an invented figure for any of those, because it will be treated as authoritative for years. Those conversations go to WhatsApp at +91 96192 18531.
- Open with the exclusion list - kitchen, stores, sample handling, bedrooms, closing room.
- Name one register, then write levels by volume type rather than one number per site.
- Put the socket and placement requirements into the fit-out drawing package.
- Air and judge every new gallery first; review at each project and date the card.
Naming the register once, and writing the level per volume type rather than per building
The register is one clause of the document and deserves about one clause of your attention, which is why it comes this far down the page. Name it once, for the portfolio, and choose it on how it wears over ten years rather than how it lands at one launch.
The volume categories first, because they are what the levels attach to. Connected gallery floor. Lounge, where that is a separate volume. Negotiation or closing room, which takes the least of anything or nothing at about 51 cubic metres for 180 sq ft and a 10 ft ceiling. Sample apartment living volume, which is a much lower brief because a show flat has to read as a home and homes do not smell of commercial premises. Entrance or double-height volume, which is a placement question rather than an output question, because at 800 sq ft and 20 ft it is about 453 cubic metres and people occupy only the bottom six feet of it. Then the exclusion list, which is not a category with a level but a category with a zero.
Then the register. Seven in the water-based Hotel Collection, each SOSA's own hotel-inspired interpretation; SOSA is independent and not affiliated with, endorsed by or connected to any hotel brand. Quiet Luxury is white tea, bergamot and cedar - hushed, polished and unsweet, and the one I would name in a standing specification given one decision and no further information, because it carries a small amount of presence without becoming what anybody thinks about on the fortieth encounter. White Tea Serenity is white tea, aloe and cedar - clean, weightless and spa-like, and the register that most readily reads as clean rather than as scented; it is the safer specification where sample apartments form part of the sales route. Forest Suite is cedarwood, vetiver and green leaves - the driest of the three, reading as a property of the building rather than as a decision applied to it, which is useful across a portfolio of buildings that will not resemble each other.
What I would not name in a specification. Anything with a personality, and for a reason specific to a standing document: a specification commits you for years, and the quality that makes a register memorable on first encounter is the quality that makes it tiring on the fortieth. Lobby Bar is citrus, pepper and amber, bold and after-dark. Old-World Glamour is amber, violet and woods, plush and evening-elegant, and plush accumulates across an hour-long appointment in a way that dry does not. Warm Welcome is citrus, floral and sandalwood, a genuine hotel-threshold register, which is the instinct a gallery encourages and the instinct a specification exists to resist. Tea Garden is jasmine, green tea and white tea, the least risky floral in the collection, and even so a floral of any weight in rooms where finishes and fabric boards are handled is the most identifiable thing in the building. I will not rank the seven against each other on measured throw or longevity - SOSA does not publish that comparison, and the dominant variables belong to your galleries.
And the bespoke question, which always comes up when a document is being written for a premium brand: bespoke composition is a real SOSA service, discussed on WhatsApp rather than priced on a page, with no price, no minimum, no lead time and no process detail given here. Take the cheaper honest answer first, though, and put it in the document's rationale so nobody re-opens it every year: one of the seven, held at the same perceived level across every gallery for a decade, already is a signature, because consistency makes a signature and uniqueness does not. A bespoke blend that nobody calibrates at site four is a more expensive version of the same failure.
One standing arrangement, printed on every gallery card as clause seven requires. Anyone on the sales team can switch a named unit off without asking a manager. They are in that air eight to ten hours a day and a reported reaction is a recalibration signal rather than a tolerance problem. No health or allergy claim is made in either direction.
| Scent | Why it suits the mood |
|---|---|
| Quiet Luxury · the specification default | White tea, bergamot and cedar. Hushed, polished and unsweet, and what I would name in a standing document given one decision. A specification commits you for years, so the criterion is how it wears on the fortieth encounter rather than how it lands on the first, and this is the one that holds a little presence without ever becoming the subject. |
| White Tea Serenity · where sample apartments are part of the route | White tea, aloe and cedar. Clean, weightless and spa-like, the register that reads as clean rather than as scented. The safer specification where a show flat sits on the sales route, because a sample apartment has to read as a home and a home does not smell of commercial premises. |
| Forest Suite · a portfolio of material-led galleries | Cedarwood, vetiver and green leaves. The driest of the shortlist and the one that reads as structural, so it is received as a property of each building rather than as a corporate decision applied to it. Useful precisely because your galleries will not resemble one another from project to project. |
| The exclusion clause · the most valuable page in the document | Not a register and not a lower setting - a written list of where nothing goes. Kitchen and pantry, stores and back-of-house, anywhere finishes and fabric samples are handled, show-flat bedrooms and bathrooms, the negotiation room, any gallery that has not passed the airing rule, and the explicit possibility that a whole gallery gets nothing. If the document cannot produce the answer not this one, it is a rollout rather than a specification. |
So the equipment paragraph, which in a specification should be short and should follow the volume arithmetic rather than lead it.
For a single enclosed room at any site - a doored lounge, a reception that is genuinely its own volume - an ultrasonic is usually the whole answer: a SOSA Boond at ₹899, a SOSA Sukoon at ₹1,899, or a SOSA Megh at ₹3,499 with a 6 litre tank for a larger lounge running all day, all running the water-based Hotel Collection from ₹299 with 100ml refills at ₹999 and 300ml also available. The pack of seven 15ml bottles at ₹1,799 is the sensible way to settle the portfolio register in one real gallery before the document names it, judged on day five rather than the first afternoon.
For a connected gallery floor the machine the specification will usually name is the SOSA Vaayu at ₹11,999: waterless cold-air nebulising of undiluted oil, so no water, no humidity and no wet residue - a plain design preference in a city with two damp stretches a year, never a claim to control humidity or treat a building. Approximately 1000 cubic metres of connected air, with SOSA's own copy also stating 2,000 to 3,000 sq ft scented evenly. Bluetooth app and timer, 400ml tank, freestanding or wall and HVAC mount, DC 12V / 1A at 5W so the socket clause is not optional, CE, RoHS and SGS. The app is what makes a written specification enforceable rather than aspirational: gallery hours only, three seasonal settings per site, and a setting that can be checked against the card by whoever owns the review. Where a building genuinely calls for ducted scenting and the people responsible for its air agree in writing, the machines are the Aangan at ₹25,999 for approximately 8,000 to 10,000 sq ft and the Meenar at ₹38,500 for approximately 12,000 to 18,000 sq ft - and never into air handling serving premises that are not yours. The two systems are not interchangeable, and the ₹299 water-based bottle never goes into a Vaayu or an HVAC machine.
Include the passive option in the document, because a specification that only lists machines will be applied with machines. The SOSA reed diffusers are their own registers rather than Hotel Collection ones - Mountain Breeze ₹849 the driest, with Morning Freshness ₹749, Garden Bloom ₹799, Evening Calm ₹799 and Fresh Brew ₹849, 130ml from ₹1,249, lasting about 6 to 10 weeks. No plug, no noise, nothing to switch off and nothing to schedule, scenting the few feet around it rather than a room. For a small transit gallery or a temporary structure, that is often the honest entry in the equipment column - and if you run reeds and machines in the same building, keep them in genuinely separate volumes, because they are different register families.
To go deeper: the clauses that go to the fit-out contractor are set out at length in planning Vaayu placement during HVAC, electrical and interior design. The sample apartment's much lower brief, and why it is a different room from the lounge, is whether a show flat should smell more residential than the corporate sales lounge. And the portfolio logic that the specification is built on - one register, separately calibrated levels, written down per gallery - is can one signature scent connect multiple projects under the same developer brand.
What SOSA does not publish, and what your specification should therefore never state: consumption rate, refill frequency, monthly running cost, machine lifespan, minimum order quantity or installation lead time. Send the standing document and the gallery plans to WhatsApp at +91 96192 18531. Bulk orders are welcome and custom label or logo on product is available.
The SOSA scenting range
SOSA sells two different systems and one of the commonest mistakes is mixing them up. Size by the connected air volume of the room you are actually scenting - which in a boutique means the connected retail floor plus any viewing room that has a door of its own - floor area multiplied by ceiling height gives cubic feet, and cubic feet divided by 35.3 gives cubic metres. A door that stays shut ends one volume and begins another.
| Machine | System | What it is for | Price |
|---|---|---|---|
| SOSA Boond | Ultrasonic · water-based | A small desk or corner unit for one enclosed room - runs the water-based Hotel Collection | ₹899 |
| SOSA Sukoon | Ultrasonic · water-based | A larger ultrasonic for a reception or consultation room - Hotel Collection from ₹299 | ₹1,899 |
| SOSA Megh | Ultrasonic · 6L tank | A large-tank ultrasonic for a bigger lounge that runs all day | ₹3,499 |
| SOSA Vaayu | Waterless cold-air nebulising | The commercial machine - approx 1000 m3 of connected air, Bluetooth app and timer, no water and no humidity | ₹11,999 |
| SOSA Aangan | HVAC nebulising | Ducted scenting for approximately 8,000 to 10,000 sq ft | ₹25,999 |
| SOSA Meenar | HVAC nebulising | Ducted scenting for approximately 12,000 to 18,000 sq ft | ₹38,500 |
Two systems, and they are not interchangeable. The ultrasonics - Boond, Sukoon and Megh - run the water-based Hotel Collection from ₹299. Vaayu and the HVAC machines run waterless nebulising oil; the ₹299 water-based bottle never goes into a Vaayu. SOSA blends are SOSA's own hotel-inspired interpretations and SOSA is independent and not affiliated with any hotel brand. A portion of every order supports girl-child education through Nanhi Kali.
- Vaayu ₹11,999 - waterless cold-air nebulising, approx 1000 m3 connected air, Bluetooth app and timer, 400ml tank, freestanding or wall / HVAC mount, DC 12V / 1A, 5W, mains powered, CE / RoHS / SGS.
- Aangan ₹25,999 for approximately 8,000 to 10,000 sq ft and Meenar ₹38,500 for approximately 12,000 to 18,000 sq ft - both ducted into HVAC.
- The ultrasonics - Boond ₹899, Sukoon ₹1,899, Megh ₹3,499 - run the water-based Hotel Collection from ₹299, with 100ml refills at ₹999.
- Not published, and therefore never stated on this page: consumption rate, refill frequency, monthly running cost, machine lifespan, installation lead time or any minimum order. Those go to WhatsApp +91 96192 18531.
Versailles
Most of what is written about commercial scenting assumes you are building something from nothing - a new brand, an empty room, a customer who has never met you. Almost none of it is written for the business I actually get asked about most often in a city like Lucknow: the one that has been there for thirty years, that people already trust, where the founder's son or daughter is now looking at the place and thinking it should feel more like what it is worth.
That business has a completely different problem, and it is worth naming plainly. You are not trying to create an impression. You are trying not to damage one. A customer who has come to you since before you were running the place has a version of your shop in their head, and it is a good version - that is why they keep coming. If they walk in one morning and the room announces that something has changed, you have spent a real asset to buy a compliment. So my advice to legacy businesses is almost embarrassingly conservative: go so low that nobody remarks on it. Not low as a compromise - low as the specification.
The rest is the same as it always is, and it is the least commercial thing I say. Fragrance adds a smell; it has never once removed one. So if the showroom smells of damp in August, or the lobby carries the kitchen, or the new fit-out is still off-gassing, a machine gives you both smells at once and most people find that worse than the original. Source, then ventilation, then cleaning, and only then a quiet character held at the same level every single day - because in a business built on being the same place it has always been, consistency is the entire product.
Frequently asked questions
Facts verified September 2026: SOSA Vaayu ₹11,999 is a waterless cold-air nebulising diffuser rated for approximately 1000 m3 of connected air, with Bluetooth app and timer, a 400ml tank, freestanding or wall / HVAC mounting and a DC 12V / 1A, 5W mains supply. SOSA Aangan ₹25,999 covers approximately 8,000 to 10,000 sq ft and SOSA Meenar ₹38,500 approximately 12,000 to 18,000 sq ft, both ducted into HVAC. The ultrasonic machines - Boond ₹899, Sukoon ₹1,899 and Megh ₹3,499 - run the water-based Hotel Collection fragrance from ₹299, with 100ml refills at ₹999; that water-based bottle is not used in a Vaayu or an HVAC machine. Reed diffusers start at ₹749 and last roughly 6-10 weeks. A coverage rating assumes one connected body of air; scent does not travel through a closed door. Ambient scent research supports improved evaluations of a space and its service, longer dwell and stronger recall at moderate effect sizes - it does not support claims about bookings, fees or retention. Fragrance adds scent and does not remove, neutralise or purify odour, and no SOSA product makes any health, antibacterial or air-purifying claim. No SOSA product is an air-treatment device, an air purifier, a dehumidifier, a humidity-control product or an odour-removal product, and none makes any health, allergy, air-quality or occupational claim. No claim is made here about any effect on a customer, a patient, a purchase, a footfall figure or a business result. Nothing in this guide is clinical, facilities, HVAC, food-safety or building advice: in a clinical space the treating clinician decides what may be in the air, in a food business the kitchen and the applicable food-safety rules decide, and in any building the people responsible for its air and its maintenance decide - and their decision overrides every recommendation here. Descriptions of Lucknow's seasons, localities and crafts are general and qualitative; every figure about a specific building must come from that building. Nothing here claims any association with, or endorsement by, any craft body, heritage authority or local institution. SOSA blends are SOSA's own hotel-inspired interpretations; SOSA is independent and not affiliated with any hotel brand. Prices and availability are subject to change - see the live product pages.