That is the answer in almost every studio that asks this question, and the rest of this page is just the checks that tell you which version of it applies to you. A coverage rating - SOSA's included - assumes one connected body of air. A closed door ends one volume and begins another. A big difference in ceiling height turns two rooms that look comparable on a floor plan into two rooms with wildly different amounts of air in them. A return grille can quietly export a room's contents to the plant. And a machine sitting in reception is, quite reasonably, scenting reception.
So work through it in order rather than reaching for a bigger machine, because five minutes of checking will usually tell you that nothing has gone wrong at all. Here is the order: is the door between the two rooms shut; is the shooting floor much larger and much higher than reception; is the machine physically sitting in reception; is a return grille pulling reception's air out of the building; and finally, the check that most studios skip and that most often ends the enquiry - is the shooting floor a room that should be scented at all.
I want to be clear about where this page lands before you read it, because it is not the conclusion most product pages reach. In the majority of studios that ask me this, the honest answer is that the system is working exactly as it should, the reception smells the way a reception should smell, and the main studio floor is a work room that is better off as it is. Nothing is broken. The expectation was.
How much bigger is the studio floor, really? Do the arithmetic. A 250 sq ft reception at 11 ft is 2,750 cu ft, about 78 m3. A 1,200 sq ft shooting floor at 16 ft is 19,200 cu ft, about 544 m3 - roughly seven times as much air. A machine set correctly for 78 m3 is not going to be noticed in 544 m3, and that is arithmetic rather than a fault.
Is something wrong with my machine? Usually not. Check the door, the volumes, where the machine is sitting and whether a return grille is pulling reception's air out. If all four are as you expect, then nothing is wrong - and the last question is whether the shooting floor should be scented at all. In most studios the honest answer is no: it is a work room where the crew spends eight or ten hours.
Check one: the door. Walk from reception to the studio floor at a normal working moment and notice what you had to open. If there is a door and it is normally shut, you have your answer and you can stop reading. Scent does not travel through a closed door, and a machine in reception is scenting reception exactly as designed. This is not a limitation of a particular product; it is what one connected body of air means, and every coverage figure ever published rests on it.
Check two: the arithmetic. Even with the door standing open, the two rooms are almost never comparable. Floor area multiplied by ceiling height gives cubic feet; cubic feet divided by 35.3 gives cubic metres. A 250 sq ft reception at 11 ft is 250 x 11 = 2,750 cu ft, and 2,750 / 35.3 is about 78 m3. A 1,200 sq ft shooting floor at 16 ft is 19,200 cu ft, which is 19,200 / 35.3, about 544 m3. That is roughly seven times as much air - 19,200 divided by 2,750 is just under seven. A setting that reads beautifully in 78 m3 will not be noticed in 544 m3, and it should not be. Nothing has failed; the two rooms were never the same problem.
Check three: where the machine is. Go and look at it. If it is on the reception desk, on a console in reception, or on a shelf behind the front desk, then reception is the room it is in and reception is the room it is doing. Machines do not aim. A machine put in reception because that is where the socket is, with a hope that the studio floor will benefit, is a hope rather than a plan.
Check four: the return grille. Find the air conditioning grilles in reception and work out which is which with a strip of tissue - it flutters away from a supply and towards a return. If your machine is near a return, its output is being drawn out of the room and back to the plant rather than moving through the doorway into the studio. In a ducted building it may then be delivered somewhere else entirely, which is why some studios find their register faintly present in a room they never scented. Move the machine as far from the return as the room allows and see what changes over the following week.
Check five, and this is the one that usually ends the conversation: should the shooting floor be scented at all? It is a work room. Your crew stands in it for eight or ten hours under lights, five or six days a week, and they are by a long way the most exposed people in the building. Your client is standing in it being lit and directed, with their whole attention on their own hands and face, having already formed their impression of your studio in reception fifteen minutes earlier. It is the biggest volume, the highest ceiling and the leakiest boundary you own. Very often the honest answer to this whole question is that nothing is wrong: reception smells the way a reception should, and the studio floor is better off exactly as it is. A portion of every SOSA order supports girl-child education through Nanhi Kali.
The reason this question comes up so often is that a floor plan lies to you. On paper, reception and the studio floor are two rectangles next to each other, and one of them is bigger. In air terms they are not two rectangles at all, they are two boxes, and the second box is both wider and much taller. Height is the variable people leave out, and in a studio it is the variable that dominates - studios are rarely 10 ft, most are 12 to 16, and a double-height shooting bay can be 18 to 22.
The second reason is that the machine is doing something visible. It is on, there is a light, and something is happening. So when a room smells of nothing it feels like a failure of the device rather than a boundary in the building. It is nearly always the boundary.
There is a fourth reason, and it is the one that costs the most money before anybody works it out. A machine bought for a reception was specified for a reception. A studio owner who then walks onto a 544 m3 shooting floor and finds nothing there is not discovering a defect; they are discovering that they bought a machine for one room and are testing it in another. If the same owner had bought a car for a city commute and then found it slow on a hill, nobody would call it faulty. The specification was correct and the expectation moved.
And the third reason, which is worth saying kindly, is that owners want the big room to be part of the good thing. That instinct is understandable and it is the one that costs money. The rooms fragrance can do something for are the rooms where people wait. The rooms fragrance can do least for are the rooms where people work, and the main studio floor is the largest, tallest, hardest and least rewarding of those.
The five checks, in the order that finds the answer fastest
Diagnosis is easier than it looks here because there are only a small number of things that can be true, and they are checkable in about ten minutes with no tools beyond a strip of tissue paper and a tape measure.
The five checks fall into three groups. The first group is about boundaries: is there a door, is it shut, and where is the machine standing in relation to it. The second is about quantity: how much air is actually in each room, which is arithmetic and not opinion. The third is about export: whether something in reception is removing the air you have just scented, which in practice means finding the return grille. And then there is the fifth check, which is not a diagnostic at all but a question about intent, and it is the one that most often makes the other four irrelevant.
Before any of that, one thing to rule out that has nothing to do with airflow. If reception smells right to you and the studio smells of nothing to you, ask somebody who has just walked in from outside to walk both rooms and tell you what they get. Your own nose adapts to your own building within minutes of arriving, and the specific way that adaptation fails is that it flattens differences you would notice from the door. It is entirely possible that the studio floor does carry a faint level and that you cannot read it because you have been standing in the building since nine. Getting a fresh nose to walk the route costs nothing and occasionally ends the enquiry on its own.
One more thing worth ruling out before the five checks, because it accounts for a surprising number of cases: time of day. If you judged reception on the way in at nine in the morning and judged the studio floor at four in the afternoon, you did not compare two rooms - you compared two noses. The one at nine was fresh and the one at four had been in the building for seven hours. Do both readings within a minute of each other, walking straight from one room to the other, or the comparison means nothing.
The other thing to rule out is a source problem masquerading as a coverage problem. If the studio floor smells of warm fabric, of the crew's lunch, of a steamer that has been running near a sofa or of monsoon damp in the soft furnishings, then what you are experiencing is not an absence of your register - it is your register being outnumbered by something with a source. Fragrance adds scent and does not remove odour, so no amount of extra machine will resolve that. Source, then ventilation, then cleaning, then fragrance, in that order, always.
Walk the route a client walks, at a normal working moment on a normal day - not at eight in the morning when the building is empty and every door is propped open. Notice every door you have to open, and notice which ones are shut because they are always shut: a consultation room in use, a studio floor with a shoot running, a makeup room whose door is closed for privacy. Each of those is the edge of a volume. A machine cannot push scent through a closed door, and a coverage rating that says approximately 1000 m3 of connected air - as the Vaayu at ₹11,999 does - is describing one connected body of air, not one building.
Studios frequently have a half-version of this that is more confusing than a shut door: an opening that is sometimes open. A studio floor with a wide double door that is propped during setup, shut during a shoot and open again at the end of the day is two volumes for the hours that matter and one volume for the hours that do not. What you smell at four in the afternoon on a shoot day and what you smell at six when the crew is packing down are genuinely different situations, and if you have been judging your machine on the shoot-day reading you have been judging it against the door-shut case.
Then look at where the machine actually is. This sounds too basic to be a check and it is the second most common cause. A machine ends up in reception because reception has the socket, the console, the shelf and the sightline you were designing for, and once it is there the reasonable expectation forms that it will also serve the room next door. It will not, or at least not in any way you should plan around. Machines do not aim, and the small amount of output that drifts through a doorway is at the mercy of every pressure difference and every air current in the building.
There is a related placement error worth checking at the same time: a machine positioned right beside the opening between the two rooms, in the hope of serving both. That position usually serves neither properly. It sits in the busiest, draughtiest part of reception, where every door movement flushes it, and it is upstream of nothing in particular. If you genuinely have one connected volume across both rooms, the machine should be deep in it rather than at the seam.
Finally, a check that catches out studios with a mezzanine or a double-height bay: vertical boundaries. A shooting floor with a 20 ft ceiling and a gallery above it has a strong upward convection driven by continuous lighting, and air that leaves reception through a doorway into that space is going to rise and disperse into a volume nobody stands in. In a room like that the arithmetic is not just unfavourable, it is unfavourable in a way that gets worse when the lights go on.
A 250 sq ft reception at 11 ft is 2,750 cu ft, which is about 78 m3. A 1,200 sq ft shooting floor at 16 ft is 19,200 cu ft, about 544 m3. Divide one by the other: 19,200 over 2,750 is a little under seven, so the studio floor holds roughly seven times the air of the reception. If your floor is a double-height bay at 20 ft, a 1,200 sq ft footprint becomes 24,000 cu ft, about 680 m3, and the multiple is nearer nine. A 1,500 sq ft floor at 14 ft is 21,000 cu ft, about 595 m3. A 2,000 sq ft floor at 14 ft is 28,000 cu ft, about 793 m3.
Put those numbers next to what a machine is rated for and the picture is unambiguous. The Vaayu at ₹11,999 is rated for approximately 1000 m3 of connected air, with SOSA's own copy also stating 2,000 to 3,000 sq ft scented evenly. That is a machine that could hold your 544 m3 studio floor comfortably if that is what you asked it to do and if the air were genuinely connected. An ultrasonic such as the Sukoon at ₹1,899, sized for a reception, was never going to. So the honest reading of "I can smell it in reception but not in the studio" is very often "I bought a reception machine and I am asking it to do a studio floor".
Height is the term people leave out, and in this vertical it is decisive. Never assume 10 ft in a studio: most are 12 to 16, and a double-height shooting bay can be 18 to 22. A reception at 11 ft and a floor at 16 ft differ by nearly half again on the height alone, before you count a single square foot of extra area. And in a tall room a large share of the air sits above head height where nobody ever stands, so you are paying to fill a volume that no client will ever breathe.
Then check four: the return grille, which is the quiet one. Find every grille in reception and identify it with a strip of tissue - it flutters away from a supply and towards a return. If the machine is close to a return, its output is being drawn out of reception and back into the system rather than moving through the doorway into the studio. In a building with a ducted system that air goes to the air handler and may be redistributed elsewhere, which is why some studios find their register faintly present in a room they never scented while the room they meant to scent has nothing.
The fix for that one is free: move the machine as far from the return as the room allows, keep it out of the direct jet from any supply grille, and give it a week before you judge. What is never the fix, in any phrasing, is closing or blocking the return, taping a vent, shutting off extraction or reducing air exchange to keep the fragrance in the room. A well-ventilated studio is genuinely harder to scent, and that is a trade you accept rather than defeat.
Ask what the main studio floor is for. It is a work room. Your crew stands in it for eight or ten hours under continuous lighting, five or six days a week. Your assistant is in it before the client arrives and after they leave. A stylist may be in it all day with a steamer going. Those people are the most exposed humans in your building by an enormous margin, and if one of them mentions the scent, that is a recalibration signal rather than a tolerance problem. A studio that extends fragrance across its working floor is a studio that acquires a slow, quiet staff problem it did not need.
Then ask what the client is doing in it. They are being lit, positioned and photographed, which for most people is mildly exposing and takes their entire attention. Their impression of your studio was formed fifteen minutes earlier, at the desk in reception, in the first ten or fifteen seconds of walking in. That is the moment ambient scent had a job, and it did it. The shooting floor is where the work happens, not where the evaluation happens.
Then look at the numbers again with intent rather than diagnosis. You would be spending to fill roughly seven times the air, in the room with the highest ceiling, the biggest openings, the strongest extraction and the most heat-driven air movement in the building - for an audience that is not evaluating it and a crew that did not ask for it. There is no version of that trade that comes out well, and it is the reason my standing advice for this whole vertical is that the opportunity is reception, consultation, bridal and client lounges and waiting areas rather than the active shooting areas.
So the honest end of this diagnostic, for most studios, is: nothing is wrong. Your reception smells the way a premium reception should smell. Your studio floor smells of clean, aired, working air, which is what a good studio floor should smell of. The gap between them is not a fault, it is a design, and the fact that you can perceive the difference when you walk from one to the other is evidence that both are correct.
If money is going to be spent, spend it on the second waiting room rather than on the working one. A client lounge, a consultation room or an album-selection room is a three-to-six-hour space where a person sits, and that is where a second machine earns something - at a lower level than reception, because long dwell takes the lowest dose in the building. And if the studio floor itself smells of something you do not like, that is a source, ventilation and cleaning problem: air it between sittings, take the crew's food waste out of the building, launder the backdrops, drapes and sofa covers on a rota, and keep wardrobe rails out of the hot zone under the lights. Fragrance adds scent and does not remove odour, and no machine at any price changes that order.
There is one narrow exception, and it is worth naming so that nobody thinks this page is absolutist. If your studio floor doubles as an event space, a launch venue or a room clients are formally toured through as part of a pitch, then on those occasions it is a waiting room and it can be treated as one. That is a scheduling answer - the Vaayu's Bluetooth app and timer make it easy - rather than a reason to run fragrance across a working floor from Monday to Friday.
- Check the door between reception and the floor. Shut means two volumes.
- Do the arithmetic: area times height, then divide by 35.3 for cubic metres.
- Look at where the machine is standing, and find reception's return grille.
- Then ask whether the studio floor should be scented at all. Usually not.
What to do once you know which check failed
What you do next depends entirely on which check failed, so take them one at a time.
If check one failed and there is a shut door, you have two volumes and a choice: leave the studio floor alone, which is usually right, or treat it as a separate scenting problem with its own arithmetic and its own machine. What you cannot do is expect a reception machine to serve it, and what you should not do is prop the door open to help the fragrance, because that door is usually shut for good reasons - light spill, sound, privacy, air conditioning, dust.
If check two failed and the arithmetic is against you, the question becomes whether the floor is worth the machine it would actually need. Be honest about the number: 544 m3 is a real volume and it wants a real machine. The Vaayu at ₹11,999 is rated for approximately 1000 m3 of connected air; an ultrasonic is not a candidate at that scale.
If check three failed and the machine is simply in the wrong room, move it. Placement is free and it is the most underused fix in this entire subject. Two metres, or one room, is very often the whole difference.
If check four failed and a return grille is exporting reception's air, move the machine as far from it as the room allows and give it a week. Never block the grille.
And if check five is the honest one, stop. Put the money in the client lounge instead, at a lower level than reception.
Whichever it is, the register itself does not change. All seven below are the water-based Hotel Collection, each SOSA's own hotel-inspired interpretation - SOSA is independent and is not affiliated with, endorsed by or connected to any hotel brand. Quiet Luxury is white tea, bergamot and cedar, hushed and polished lobby calm, and it is the default for a studio reception because it is neutral across client types and reads as considered rather than as fragrance. White Tea Serenity is white tea, aloe and cedar, clean and weightless and spa-like, for pale, minimal, daylight-heavy front of house. Forest Suite is cedarwood, vetiver and green leaves, grounding and biophilic green, for concrete, steel, plants and a warehouse shell. Tea Garden is jasmine, green tea and white tea, serene tea-and-jasmine calm, and it is the bridal consultation answer, run lower there than anywhere else in the building. Warm Welcome is citrus, floral and sandalwood, warm and gracious hospitality, a threshold register for a studio positioned on warmth rather than editorial cool. Old-World Glamour is amber, violet and woods, plush and evening-elegant, for a dark portrait room rather than a four-hour album room. Lobby Bar is citrus, pepper and amber, bold and playful and after-dark, and in this vertical it belongs to an events space and almost nowhere else.
The important rule when you are adding a second machine after a diagnostic like this one is to keep the same register. One register on the whole client route, held at different levels in different rooms, reads as a building with a personality. Two registers in adjoining rooms reads as a building that has not decided what it is, and a client walking through the doorway feels the seam without being able to say what changed. If reception is running Quiet Luxury, the lounge runs Quiet Luxury lower - not something else that seemed nice.
And whatever the diagnosis, the rooms that get nothing stay at nothing: the active shooting sets, the makeup and styling area, which already has hairspray and setting spray winning in it, the equipment store, and a newborn photography room, which should be fragrance-free without hedging. Pregnant clients are commonly scent-sensitive and nausea is ordinary in pregnancy, which is a plain reason to keep maternity rooms unscented too. That is not a health, safety or calming claim in either direction and SOSA publishes none - the client's own preference overrides everything on this page.
| Scent | Why it suits the mood |
|---|---|
| The door is shut · check one | The commonest answer and the one that stops the enquiry immediately. Scent does not travel through a closed door, so a machine in reception is scenting reception exactly as designed. This is what one connected body of air means, and every coverage figure ever published rests on it. Do not prop the door open to help the fragrance; that door is shut for light, sound, privacy and air conditioning reasons that matter more. |
| The arithmetic is against you · check two | A 250 sq ft reception at 11 ft is 2,750 cu ft, about 78 m3. A 1,200 sq ft floor at 16 ft is 19,200 cu ft, about 544 m3 - roughly seven times the air, and nearer nine if the bay is double height at 20 ft. A setting that is right for 78 m3 will not be noticed in 544 m3, and it should not be. Height is the term everybody leaves out and the one that decides it. |
| The machine is in reception · check three | Machines do not aim. A machine on the reception console is doing reception, and the drift through a doorway is at the mercy of every pressure difference in the building. If you genuinely have one connected volume, put the machine deep inside it rather than at the seam between two rooms, where every door movement flushes it. |
| A return grille is exporting it · check four | Find the grilles with a strip of tissue - it flutters away from a supply and towards a return. A machine near a return is feeding the plant rather than the room, and in a ducted building the output may be redistributed to somewhere you never intended to scent. Move the machine, give it a week, and never block or tape a grille to keep the fragrance in. |
So the buying decision, once the diagnostic is done and only if it pointed somewhere.
If the answer is that the studio floor should be left alone - which is the answer for most studios - then buy nothing for it and consider whether your second waiting room is properly served instead. A consultation room, a bridal lounge or an album-selection room takes the lowest level in the building because people sit in it for three to six hours, and a small machine does that job perfectly: the SOSA Boond at ₹899 for a small enclosed room or the SOSA Sukoon at ₹1,899 for a larger one, running the water-based Hotel Collection from ₹299 with 100ml refills at ₹999. A lounge that runs all day is where the SOSA Megh at ₹3,499 earns its 6 litre tank.
If the diagnostic genuinely pointed at a large connected volume you have decided to scent, then size for the number you calculated rather than for the number you hoped. The SOSA Vaayu at ₹11,999 is the commercial machine: waterless cold-air nebulising of undiluted oil, so no water, no humidity and no wet residue, rated for approximately 1000 m3 of connected air with SOSA's own copy also stating 2,000 to 3,000 sq ft scented evenly, with a 400ml tank, Bluetooth app and timer, freestanding or wall or HVAC mounting, DC 12V / 1A at 5W and mains powered so it needs a live socket, and CE, RoHS and SGS. Above that, the ducted machines are the designed answer for whole floors: Aangan at ₹25,999 for approximately 8,000 to 10,000 sq ft and Meenar at ₹38,500 for approximately 12,000 to 18,000 sq ft.
Two systems, and they are not interchangeable. The ultrasonics are water-based cool-mist machines that put moisture into the air; the Vaayu and the ducted machines run waterless nebulising oil, and the ₹299 water-based bottle never goes into a Vaayu or an HVAC machine. Wherever a machine ends up, ordinary studio prudence applies: keep it away from open equipment cases and the bench where lenses get changed, and do not point a mist machine at anything you care about. That is housekeeping rather than a protection claim, and SOSA publishes none in either direction. And if what you actually want is a quiet baseline in a small room with no spare socket, a SOSA reed diffuser from ₹749 lasts about 6 to 10 weeks, with 130ml from ₹1,249 and refills at ₹2,399 for 300ml and ₹3,499 for 500ml.
If check three or check four was your answer and you want the position sorted properly, read where to place a scent machine in a photography studio. If check five was your answer and you want the argument in full, read should the scent machine go in reception or the main shooting area. If check four pointed at the air conditioning, how air conditioning affects fragrance in a photography studio explains what the system is doing. And if the honest situation is that your building is several closed rooms rather than two, read how to scent a photography studio with multiple closed rooms.
What SOSA does not publish, and what this page will therefore not invent: consumption rate, refill frequency, monthly running cost, machine lifespan, minimum order or lead time. Those follow from run hours, connected volume and setting. Send your two room sizes, both ceiling heights and a note of whether the door between them is shut to SOSA on WhatsApp at +91 96192 18531 and you will get an honest answer, including the fairly common one that you do not need to buy anything. Bulk orders are welcome, custom label or logo on product is available, and bespoke composition is a real SOSA service discussed there rather than priced on a page.
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 - 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
A photography studio sells a feeling before it sells a photograph. A couple sitting on your sofa choosing an album is doing something emotional, and they are doing it in your air for three or four hours. That is a long time to be in a room, and it is the reason I keep telling studio owners to go lower than they think.
The mistake I see is scenting the whole studio at one level. A reception is a thirty-second room and can carry a little presence. A consultation lounge is a three-hour room and needs a whisper. A newborn or maternity room should usually have nothing at all, and I would rather say that plainly than sell a second machine.
And the unglamorous part first: fragrance adds scent, it does not remove odour. If the studio smells of hairspray, of last night's crew dinner or of a room that has been shut since Sunday, scent laid on top makes a third smell. Find the source, air the room, clean it - and then, when the air is honest, give it a signature.
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. 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.