They are, in order of usefulness: the naming test - if a client can identify what it is as a product, it is too high. The fresh-nose test - walk out of the building, stay out for twenty minutes, come back in cold, because you go nose-blind within minutes and will otherwise keep raising it. The staff test - your team sits in that air eight to ten hours a day and are the most exposed people in the building, so a sensitivity report is a recalibration signal rather than a tolerance problem. And the dwell-time rule - set the level for the longest sitting in the building, not for the first impression at the door.
What I am not going to give you is a number, and it is worth saying why rather than leaving it hanging. Machines differ, rooms differ enormously, and SOSA does not publish a consumption rate, a refill frequency, a running cost or a "setting 3 for 500 square feet" chart, because such a chart would be wrong in most buildings. Your connected volume, your ceiling height, your air exchange, how much soft furnishing you have and how many hours you run are what decide it. The tests below are how you find your own number, and they are more reliable than anybody else's.
One prior condition, because it makes every test above meaningless if you skip it. Fragrance adds scent, it does not remove odour. If the room has a smell in it already, no level is correct, because you are not setting a level - you are building a two-part smell. Source, then ventilation, then cleaning, then fragrance.
Why does my studio smell fine to me and strong to clients? Because you adapted to it within minutes of arriving and they did not. That adaptation is completely ordinary and it is the single biggest cause of over-scented commercial spaces. Leave the building for twenty minutes and walk back in cold, or ask someone who has just come in from the street, and believe them over your own nose. A level that has been raised three times through the day was set by an adapted nose each time.
Is there a correct setting number for a studio? No, and anyone who gives you one without seeing your room is guessing. The level depends on connected volume, ceiling height, air exchange, soft furnishing and run hours, and SOSA does not publish consumption rates or a settings chart. Use the four tests on this page to find your own number, write it down, and then leave it alone. If you want it worked out against your actual floor plan, that conversation happens on WhatsApp at +91 96192 18531.
Start with the naming test, because it is the one that needs no equipment and no waiting. Stand somebody in the room and let them react. "This is nice" is a pass. "It feels clean in here" is a pass. "What is that, jasmine?" is a fail, and so is "that's the same as my hand wash" and "oh, is that a diffuser?". The moment a person can attach a product word to your air, they have stopped experiencing your studio and started evaluating an air freshener. That transition is the whole line, and it is far more useful than any adjective, because two people who disagree about whether something is "strong" will agree completely about whether they can name it.
Then the fresh-nose test, which is the one that saves the most money and the most embarrassment. Your nose adapts to a constant smell within minutes. You arrive at nine, and by five past nine your own studio is olfactory background. At four in the afternoon you stand in the middle of it, decide it is not really coming through, and turn it up. Tomorrow morning the client who arrives at ten gets the full force of a decision made by a nose that had stopped working. So: leave the building, stay out for twenty minutes minimum, and walk back in through the front door as a stranger would. The first four seconds are the only honest reading you will get all day. Write down what you get in plain words before your nose adapts again.
Then the staff test. Your team is in that air eight to ten hours a day, five or six days a week. Your longest-sitting client gets four hours, twice, in a year. That makes your assistant, your retoucher and whoever runs your front desk the most exposed people in the building by an enormous margin, and it makes them your best instrument. If any of them mentions the scent - a headache, a heaviness, a preference for the door open - that is a recalibration signal and not a tolerance problem. Turn it down first and discuss it second. A team that has been told their reports will be treated as data will tell you the truth; a team that has been told to get used to it will stop mentioning it and quietly resent the room.
And then the dwell-time rule, which is the one that decides where you take the reading in the first place. Set the level for the longest sitting, not the first impression. A studio's client route contains a thirty-second reception and a four-hour album room, and a level that is charming at the door is a great deal on the sofa. If those two rooms are one connected body of air, you set for the sofa and accept that reception is quieter than you would have chosen. If they are separate volumes with a door between them, you can run them differently - and that door is why. A portion of every SOSA order supports girl-child education through Nanhi Kali.
There is a reason the level almost always drifts upwards and never downwards, and it is worth naming because knowing it is most of the cure. Adaptation is asymmetric in its consequences. When you adapt to your own studio, the perceived level falls for you and stays exactly where it was for everybody else. So the pressure you feel is always in the direction of "more", and there is no corresponding day on which the room seems too strong to you. Left alone, that produces a one-way ratchet: up in March, up again in July, up in October, and by December a room that visitors find heavy and that you cannot smell at all.
The defence is procedural rather than heroic. Write the setting down on a sheet of paper taped near the machine. Put one named person in charge of changing it. Agree that nobody changes it without a cold-nose reading taken from outside the building. And review it on a calendar - twice a year with three visitors, once a quarter with your own staff - rather than whenever somebody has a feeling about it.
If you do only one thing from this page, do the twenty-minute walk. Out of the building, round the block, back in through the front door without talking to anybody, and write down the first four seconds. Almost every studio that does this honestly comes down a notch, and none of them has ever told me the room got worse.
Four tests that tell you the level, none of which uses an adjective
Level is the decision that goes wrong. In years of walking commercial spaces I have very rarely been called in because somebody chose the wrong register. I get called because somebody chose a perfectly good register and ran it at two or three times what the room could carry, and then wondered why the space felt cheap rather than considered.
So it is worth understanding what "too strong" actually is, because it is not a volume problem in the way people imagine. A room that is over-scented does not read to a client as "a lot of fragrance". It reads as a room that is trying, or as a room that is covering something, or - the most damaging one - as a room that smells of a product. None of those thoughts is conscious and all of them subtract from exactly the impression you were trying to create. The studios that read as most expensive are almost always running the lowest level in their category.
The three sections below are the tests, expanded, plus the diagnostics for the two situations every studio eventually hits: the day the fragrance seems to have stopped working, and the week somebody complains. Both have physical explanations far more often than they have fragrance explanations, and in both the wrong instinct is to turn the dial up.
One more piece of groundwork. Level is not one number for a building - it is one number per body of air. Floor area multiplied by ceiling height gives cubic feet, and cubic feet divided by 35.3 gives cubic metres. A 300 sq ft reception at 10 ft is 3,000 cubic feet, about 85 cubic metres. A 500 sq ft reception and lounge at 12 ft is 6,000 cubic feet, about 170 cubic metres. A 1,000 sq ft connected client floor at 12 ft is 12,000 cubic feet, about 340 cubic metres. Those are three different rooms with three different right answers, and a machine cannot push scent through a closed door, so whichever of them are genuinely joined together share a level and the rest do not.
Run it deliberately rather than waiting for it to happen. Bring in three people who do not work in the building - a friend, a supplier, somebody's partner - and ask them, before you mention that a diffuser exists, what they notice about the room. Write down the exact words. "It's nice in here", "it feels clean", "it feels calm" and, best of all, no comment on the air at all: those are passes. "Nice smell", "what is that?", "smells like a spa", "that's lemon": those are fails of increasing seriousness, and the last one is a clear instruction to come down.
Do not argue with the result and do not change the register in response to it. Almost nobody has ever needed a different fragrance; they have needed less of the one they had. A register that is charming at a low level and cloying at a high one is not a bad register, it is a register being misused.
The fresh-nose test. This is the one that prevents the slow upward creep, and it works because it defeats the specific thing that causes the creep. Olfactory adaptation is fast: a constant background smell fades from your awareness within minutes, and it stays faded for as long as you stay in it. That means the person least qualified to judge the level of your studio is you, and the second least qualified is anybody else who works there full time.
The procedure is unglamorous. Leave the building. Stay out for at least twenty minutes - a walk, a coffee, a phone call outside. Come back in through the front door that clients use, not the back door past the bins, and do not talk to anyone until you have registered the first four seconds. Write down what you smelled, in plain words, before you do anything else. "Nothing." "Faint, clean, pleasant." "Immediately obvious." "Sweet." That note is your reading.
Do it on a Tuesday morning when the studio has been shut overnight, and do it again at five on a Saturday after a full shoot day, because those are the two extremes your clients experience. The morning reading tells you what an arriving client meets in a still, closed building; the Saturday reading tells you what the air is like with fourteen people, lights, heat and a day of activity in it. If the Saturday reading is much heavier, that is not usually a fragrance problem - it is a ventilation and source picture, and the answer is air and cleaning rather than a lower dial.
And the rule that follows: never raise the level on the basis of your own perception alone. If your instinct says "it is not coming through", go outside for twenty minutes and check. Nine times out of ten it is coming through perfectly well and you had simply stopped receiving it. That single habit is the difference between a studio that holds a level for a year and one that climbs quietly all year.
Do the exposure arithmetic once and it becomes obvious. A studio manager works, say, nine hours a day, six days a week. That is fifty-four hours a week in your air. A wedding client sitting through the longest consultation you offer might spend six hours in it, twice, across an entire booking - twelve hours in a year. Your team is getting more exposure in one week than your most involved client gets in twelve months, and they are getting it in the rooms where the machine actually is, not just on the client route.
That makes them the best measuring instrument you own, and it also makes them the people most likely to be affected by a level that is too high. When somebody who works for you mentions the scent - a heaviness by the afternoon, a preference for having the door open, a headache they associate with the room, a note that it seems stronger this week - the correct first action is to turn it down. Not to discuss whether they are unusually sensitive. Not to explain that clients like it. Turn it down first, discuss it second, and see whether the report goes away.
Say this out loud to the team as a policy, because the failure mode here is silence rather than argument. If people believe that mentioning the fragrance will be treated as being difficult, they stop mentioning it. You then lose your only continuous reading of the room, and you acquire a quiet, permanent resentment among the people who make your studio work. I have walked into studios where three members of staff had independently stopped using a particular room and nobody had connected it to the diffuser that had been turned up in April.
There is also a practical scheduling point buried in this. The people most exposed are usually sitting closest to the machine, because the machine goes where the free socket is, which is often behind the desk or beside the edit bay. Placement is part of level: the same setting is a very different experience one metre from the outlet and six metres away. If your front-desk person is sitting in the plume, move the machine before you touch the dial - and while you are moving it, keep it away from open equipment cases and from the spot where lenses get changed, and never point a mist machine at anything you care about. That is ordinary studio prudence rather than a claim about protecting equipment, and SOSA does not publish one.
One thing this test is not. It is not a health assessment, and neither this page nor any SOSA page will make health, therapeutic, calming or allergy claims in either direction. A member of staff who reports sensitivity does not need to justify it with a diagnosis, and you do not need a theory to act on it. You need a lower setting, which costs nothing and is reversible.
Finally, put the review in the calendar rather than in your mood: once a quarter, ask the team directly - not in a group where the first answer sets the tone, but individually - whether the level is comfortable. And ask specifically about the room they spend most time in, which is usually not the room you were thinking about.
Reception is a thirty-second to two-minute room. It can carry a little more presence, because presence at the threshold is what people remember and nobody is exposed long enough to tire of it. A consultation room, a bridal lounge or an album-selection room is a three-to-six-hour room, and it takes the lowest dose in the building. The makeup and styling area already has hairspray, setting spray and a hot tool in it by mid-morning, and adding fragrance there makes a third smell rather than blending. The shooting sets are a workplace where the crew is standing for eight or ten hours. And a newborn room should be fragrance-free without hedging, with maternity rooms best left unscented too, because pregnant clients are commonly scent-sensitive and nausea is ordinary in pregnancy - which is a courteous structure rather than a health or safety claim in either direction, and the client's own preference overrides everything written here.
Here is the practical consequence people miss. If your reception and your lounge are one connected body of air, you do not get two levels. You get one, and it must be the lounge's level, because the lounge has the longest sitting in it. Reception will then be quieter than you might have chosen, and that is the correct trade rather than a compromise. If you want reception to carry more presence and the lounge to whisper, you need a door between them that actually stays shut, at which point they are two volumes with two answers.
Judge the level by the hour-four thought experiment rather than by the doorway. Imagine your setting unchanged at hour four, with a couple on the sofa deciding between two nearly identical frames of the same moment, tea gone cold, a bit tired. If your honest reaction is "that would be a lot", it is a lot. Under-dose and let consistency do the work, because a whisper that is there on every visit reads as a house style while a statement that is there once reads as air freshener.
And when it seems to have stopped working. This happens to every studio, usually two or three months in, and the instinct is always to turn it up. Before you do, run through the physical explanations, because it is one of them far more often than it is the machine.
Your nose. Adaptation, again. Do the twenty-minute walk before anything else.
The volume changed. Somebody propped a door open that used to be shut, and your 170 cubic metre client route is now joined to a 340 cubic metre studio floor. Same machine, twice the air, half the effect. Or a wall came down, or the mezzanine got opened up, or the shoot has spilled into reception.
The air changed. A ducted system was rebalanced, a new extract fan went in, the AC is now running flat out because it is June, or a return grille is sitting directly above the machine and pulling everything you make straight out of the room. If reception smells right and the lounge smells of nothing, look for the grille before you look for a second machine. What you never do is reduce ventilation to make the fragrance last longer - a well-ventilated studio is genuinely harder to scent, and that is a good problem you solve with placement and level, never by closing a vent or shutting off extraction.
The textiles changed. The big drape came down for cleaning, the rugs went, the sofa got recovered. Soft material holds fragrance and gives it back slowly, so a room stripped of textile behaves like a different room.
The machine is empty, or nearly. Unglamorous and extremely common. A bottle that ran out on Thursday is the commonest cause of a Monday-morning conviction that a register has "faded".
Work through that list and only then consider the dial. In my experience the dial is the answer perhaps one time in five.
- Install lower than feels right, then change nothing at all for two weeks.
- Take a cold reading: out of the building twenty minutes, back in the front door.
- Ask three visitors what they notice before you mention a diffuser exists.
- Write the setting on paper by the machine and name one person who may change it.
Level by room, and what to do when it seems to have stopped working
Level is a per-room decision, so here is the whole client route with a level attached to each part of it, using the water-based Hotel Collection as the reference. All seven registers are SOSA's own hotel-inspired interpretations; SOSA is independent and is not affiliated with, endorsed by or connected to any hotel brand.
Reception, if it is its own volume: a little more presence than anywhere else, because it is a thirty-second room. Quiet Luxury - white tea, bergamot and cedar - is the safest register here and the one I recommend to owners with no strong view, because it makes a room feel considered without announcing anything. Warm Welcome - citrus, floral and sandalwood - is the warmer reception reading for a practice whose identity is genuinely hospitable rather than editorial. Even here, "more presence" means a client notices the room is pleasant, not that they notice a fragrance.
The consultation room, the bridal lounge and the album-selection room: the lowest level in the building, without exception. This is the three-to-six-hour room. White Tea Serenity - white tea, aloe and cedar - reads lighter over a long sitting, which is why it is a common choice here. Tea Garden - jasmine, green tea and white tea - is the floral that behaves itself in a bridal room, because the jasmine sits inside the tea rather than on top of it, and it wants to be run lower still when the bride is wearing her own fragrance, which she very often is and sometimes is trialling for the wedding day. Your studio must not compete with that.
A dark portrait room with its own door: Old-World Glamour - amber, violet and woods - is plush and evening-elegant and genuinely belongs there, at a level set by how long a sitting actually lasts. If that room doubles as a long consultation space, choose something quieter, because plush at hour four is a great deal.
A large industrial or concrete floor: Forest Suite - cedarwood, vetiver and green leaves - is grounding and green and holds its character in a big volume, which is a practical advantage where a very light register can feel lost. Remember that a bigger room needs a different machine rather than a heavier hand: the level is still set by the longest sitting in it.
An evening event space: Lobby Bar - citrus, pepper and amber - is bold, playful and after-dark, and it is one of the few places in a studio where a little more character is appropriate, because the dwell is social and the room is not doing quiet client work.
And the rooms with no level at all: the active shooting sets, the makeup and styling station, the equipment store, and a newborn room, which should be fragrance-free. Write those on the plan next to the scented rooms, so that a helpful new assistant does not add a plug-in in month seven and quietly change the answer.
What I will not do is tell you which register is strongest or which lasts longest, because SOSA publishes no such comparison and the claim would be meaningless without your room attached to it. That also means you should not pick a register in the hope of getting a stronger or weaker result - pick on character, and get the result you want from the dial.
If you want to calibrate properly rather than by instinct, the pack of seven 15ml Hotel Collection bottles at ₹1,799 lets you run one register a week in the real room at a genuinely low setting, judging on day five rather than day one. First impressions in fragrance are unreliable; day-five impressions are excellent, and day five is also when you find out whether the level you chose is one you can live inside.
| Scent | Why it suits the mood |
|---|---|
| Reception · thirty seconds to two minutes | The only room that can carry a little presence, because nobody is in it long enough to tire of it and the threshold is what people remember. Still below the naming line: a client should register that the room feels good, not that it smells of something. If reception and the lounge are one connected body of air, this room does not get its own level at all - it shares the lounge's. |
| Consultation, bridal lounge, album room · three to six hours | The lowest dose in the building, every time. Judge it by imagining your setting unchanged at hour four while a couple decide between two nearly identical frames. Under-dose and let consistency do the work. Run lower still when the client is wearing or trialling her own fragrance, because the studio's job is to be a background nobody has to think about. |
| Makeup, styling and the shooting sets · all day, and already occupied | No level. The makeup area already holds hairspray, setting spray, primer and a hot tool by mid-morning, and anything added makes a third smell rather than blending. The sets are a workplace where the crew stands for eight or ten hours while the client's attention is entirely on being photographed. Both are ventilation and cleaning questions, not fragrance questions. |
| Newborn and maternity rooms · no level, no exceptions | A newborn photography room should be fragrance-free, without hedging, and maternity rooms are best left unscented too, because pregnant clients are commonly scent-sensitive and nausea is ordinary in pregnancy. That is a courteous structure rather than a health, safety or calming claim in either direction, and SOSA publishes none. A scented reception with an unscented room behind a door that shuts is not a compromise, it is how air works. |
Machine choice interacts with level in one way that is worth understanding: the right machine for the volume lets you run a low setting comfortably, while a machine that is small for the room tempts you to run it flat out, which is exactly the wrong place to be operating.
Size by connected air volume. A single reception or one consultation room is an ultrasonic job - the SOSA Boond at ₹899 for a small enclosed room, the SOSA Sukoon at ₹1,899 for a normal reception - both running the water-based Hotel Collection from ₹299 with 100ml refills at ₹999. A busy lounge that runs all day is where the SOSA Megh at ₹3,499 earns its 6 litre tank, and a tank that does not run dry at lunchtime is a level-consistency feature rather than a convenience.
For a whole connected client route, the SOSA Vaayu at ₹11,999 is the commercial answer: waterless cold-air nebulising of undiluted oil, so no water, no humidity and no wet residue. It 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, takes a 400ml tank, mounts freestanding or on a wall or into HVAC, runs on DC 12V / 1A at 5W so it needs a live socket, and carries CE, RoHS and SGS. For this page in particular, the Bluetooth app and timer are the important part. A written setting that only exists on a sheet of paper can be nudged by anybody walking past; a timer that runs the same hours at the same setting every day is consistency made mechanical, and it also stops you scenting an empty building at three in the morning, which is the commonest silent waste in commercial scenting.
Do the arithmetic before you buy, because a machine chosen for the wrong volume forces the level wrong in one direction or the other. A 300 sq ft reception at 10 ft is 3,000 cubic feet, about 85 cubic metres. A 500 sq ft reception and lounge at 12 ft is 6,000 cubic feet, about 170 cubic metres. A 750 sq ft client floor at 12 ft is 9,000 cubic feet, about 255 cubic metres. A 1,500 sq ft floor at 14 ft is 21,000 cubic feet, about 595 cubic metres. A 2,000 sq ft floor at 12 ft is 24,000 cubic feet, about 680 cubic metres. And a double-height shooting bay of 1,000 sq ft at 20 ft is 20,000 cubic feet, about 566 cubic metres - a reminder that studios are rarely 10 ft and that a bay can be 18 to 22. All of those client-route figures sit inside a single Vaayu's rating, but only where the air is genuinely one connected body, because a machine cannot push scent through a closed door.
The two systems are not interchangeable. The ultrasonics are water-based cool-mist machines that put moisture into the air; the Vaayu and the ducted machines - 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 - run waterless nebulising oil, and the Vaayu ships with four hotel-inspired waterless blends as one of three bundle choices. The ₹299 water-based bottle never goes into a Vaayu or an HVAC machine. And for a small closed room where the level needs to be very low and very stable, a SOSA reed diffuser from ₹749 is often the honest answer, because it has no dial to creep upwards: no plug, no noise, nothing to switch off, about 6 to 10 weeks. The reeds are their own registers - Morning Freshness ₹749, Garden Bloom ₹799, Evening Calm ₹799, Mountain Breeze ₹849 and Fresh Brew ₹849, with 130ml from ₹1,249 and refills at ₹2,399 for 300ml and ₹3,499 for 500ml. Fewer reeds in the bottle is the only dial they have, and it is a good one.
To read around this: fresh, woody or hotel-like for a photography studio settles the character question that this page deliberately leaves alone, and what clients should smell when they enter a premium photo studio is the same level question written from the other side of the door, which is a useful way to check your own answer. If you are setting a level you intend to keep, how to choose a signature scent for your photography brand is about holding it.
What SOSA does not publish, and what this page therefore does not state: consumption rate, refill frequency, monthly running cost, machine lifespan, minimum order quantity and lead time. They all depend on run hours, connected volume and setting, and those are yours. If you want the level worked out against a real floor plan with real ceiling heights, send it on 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 - 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.