Those are the four real variables, and video moves all four. A stills day is often four to six hours with three or four people in a room you can air at lunchtime. A video day is routinely ten to fourteen hours with a crew of eight to twenty - camera, sound, lighting, grip, hair and makeup, wardrobe, a director, an agency table and a client who has flown in. That is far more bodies breathing, eating, sweating and working in the same volume, for twice as long, which is a source and ventilation problem long before it is a fragrance opportunity.
And then there is the one thing that has no equivalent in a stills studio: a live microphone. Any machine in a room that is recording audio is a consideration - not because of anything specific to a diffuser, but because that is true of every appliance in a recording space, from the air conditioning to the fridge. SOSA does not publish a decibel figure for any of its machines and this page will not invent one. What it will do is give you the honest operational answer, which is that the machine belongs in reception and the client lounge rather than in the space where sound is being recorded.
That constraint turns out to be no constraint at all, which is the happy part of this page. The client route was always where scent earned anything - reception, the waiting area, the viewing lounge, the pre-production room - and the shooting floor was never the opportunity. So a video studio ends up at exactly the same answer as a stills studio, arrived at by a different road: scent the front of house, leave the working rooms alone, and run it lower than you think.
Can I run a scent machine near a live audio set? Treat it the way you treat every other appliance in a recording space: as something that makes a sound and can be switched off. SOSA does not publish a decibel figure for any machine, so nobody should tell you it is silent. The honest answer is to place it in reception and the client lounge rather than in the recording space, and to have a timer that runs it outside recording hours.
Does a bigger crew mean more fragrance? No - it usually means less fragrance and more ventilation. Ten to twenty people in one volume for fourteen hours is a source and air-exchange problem, and fragrance adds scent rather than removing odour. Air the space, feed the crew somewhere other than the client lounge, run the extraction, and keep the register on the client route at a level that fourteen hours of crew will not resent. The order is source, then ventilation, then cleaning, then fragrance.
The second is bodies. Twelve people in a 1,500 sq ft studio at 14 ft - that is 1,500 x 14 = 21,000 cu ft, about 595 m3 - is a lot of coats, bags, coffee, catering and warm human being in one volume. By hour eight that room smells of the day. The instinct is to reach for the dial; the correct move is to open the place up, get the catering out of the client area, take the waste out of the building rather than into the studio bin, and let the air exchange do its job. Fragrance adds scent, it does not remove odour, and a room that smells of twelve people plus jasmine is worse than a room that smells of twelve people.
The third is volume. Video studios are more likely to have a double-height shooting bay, a high grid, or a tall cyc wall, and a rating that assumed a 12 ft ceiling is meaningless in a 20 ft room. A 1,000 sq ft bay at 20 ft is 20,000 cu ft, about 566 m3; a 1,500 sq ft bay at 20 ft is 30,000 cu ft, about 850 m3. That is most of a Vaayu's rating spent on a single room that, in my view, should not be scented at all.
The fourth is noise, and it is the only one that is genuinely unique to video. A recording space has to be quiet, and every appliance in it - AC, fridge, lights, a diffuser - is part of that conversation. SOSA publishes no decibel figure for any of its machines, so I will not tell you one is inaudible. What I will tell you is the practical answer that professional studios reach anyway: the machine lives in reception and the client lounge, the recording space stays clear, and a timer handles the rest. That is not a compromise, incidentally - the front of house is where the fragrance was always going to earn anything, so the constraint and the correct answer happen to point the same way. A portion of every SOSA order supports girl-child education through Nanhi Kali.
The register itself is not the interesting question here. If you want the register discussion in full, that is a separate page. This one is about the fact that a video studio is a bigger room with more people in it for longer, and one room in it has a microphone in the middle of the floor.
If you take one operational habit from this page, take the timer. A machine that runs only during the hours your clients are in the front of house solves the noise question, the overnight-build-up question and the crew-exposure question at the same time, and it costs nothing beyond remembering to set it once.
What video actually changes - hours, bodies, volume and noise
It is worth being precise about what a "photo and video studio" actually is, because the phrase covers two very different buildings. One is a stills studio that occasionally shoots a corporate film - same rooms, same crew size, a longer day now and then. The other is a proper production floor: a cyc, a grid, a green room, a client viewing area with a monitor, a makeup and wardrobe suite, a kitchen, and audio being recorded on a meaningful proportion of shoot days. The advice below scales between them, but the noise section only matters seriously for the second.
Work out which you are before you read on, because it changes the size of the answer rather than its shape. A stills studio that films occasionally can treat this page as a set of adjustments: run a little lower on film days, switch off during audio, keep the catering out of the lounge. A dedicated production floor should treat it as the design brief: the front of house is scented, the floor is not, the machine is chosen for the front of house alone, and the timer is set once and left. In both cases the fragrance decision is smaller than the operational one, which is the case in almost every commercial space I have ever worked in and is doubly true here.
What both have in common is the shape of the answer. The best opportunity is still the client route - reception, the waiting area, the client lounge or viewing area, the consultation room. Not the sets, and in a video studio emphatically not the recording space. The rooms where people work are, if anything, a stronger no here than in a stills studio, because the people working in them are there for fourteen hours rather than five and they are the most exposed human beings in the building.
It also helps to be clear about who your audience actually is on a video day, because it is not the same as on a stills day. On a portrait shoot the client is the person being photographed. On a commercial video shoot the client is usually the person sitting at a table behind a monitor for ten hours with an agency producer beside them, drinking your coffee and forming a steady opinion of your building the whole time. That table is the single highest-value place in a video studio for an ambient decision, and it is also the place where a level set too high does the most damage, because nobody at it can leave.
Which produces a slightly counter-intuitive rule for this vertical: the more serious the production, the lower the level. A one-hour headshot session can carry a little more presence than a ten-hour commercial with a client village in the corner. Dwell time sets the dose, and video is the longest dwell in the whole photography world.
Air exchange first. A room holding twelve to twenty people for twelve hours needs its air moved, and moved on a schedule rather than when somebody notices. Build breaks into the day where doors get opened and the space is cross-ventilated. Run the extraction in the makeup suite and the kitchen and check it is genuinely pulling. And the thing that must never happen, in any phrasing: do not reduce ventilation or close vents so the fragrance lasts longer. A well-ventilated production floor is harder to scent than a sealed one, and that is a good problem you solve with placement and level.
Then catering, which is the biggest single smell source on a video shoot and the easiest to fix. Crew eat somewhere that is not the client lounge or the viewing area. Packaging leaves the building immediately rather than going into the studio bin, where it will quietly perfume a corridor for the rest of the day. If you have a kitchen, it needs extraction that works and a door that shuts; if you do not, the honest answer is that catering happens outside the client route entirely. And be specific about it in the call sheet rather than hoping - a note saying where crew eat and where waste goes does more for how your studio smells at four in the afternoon than any product SOSA makes.
Then the textiles, because a video studio has more of them than a stills studio and they get worn harder. Wardrobe rails, changing rooms, the green room sofa, drapes, the client lounge cushions. All of it absorbs the day and releases it slowly afterwards, which is why Tuesday still smells faintly of Friday. Put them on a laundry rota. Do all of that and you will need dramatically less fragrance than you thought, which is the pattern in this entire vertical.
There is a specific timing problem on long days that is worth planning for rather than reacting to. The client and agency usually arrive later than the crew and leave earlier, which means the two audiences for your air are in the building at different times and in different states. The crew arrive into a cold building at seven and stay until ten at night. The client walks in at ten in the morning, sits at the viewing table, and walks out at six. If you set the level for hour ten of a crew day, it will be wrong for the person who mattered most. Set it for the ten o'clock arrival and let the timer take care of the rest of the day.
And accept that the studio will smell of the day by the evening, because twenty people working hard in a room is a physical fact rather than a failure. The goal is not a floor that smells of white tea at nine at night. The goal is a client route that resets between shoot days: aired at wrap, aired again before the next call, textiles laundered, waste gone. A studio that resets properly starts every morning from the same baseline, and a consistent baseline is what makes a low fragrance level readable at all.
So here is the honest position rather than a comfortable one. SOSA does not publish a decibel figure for any of its machines, and I am not going to invent one so that a page reads better. What I can tell you accurately is what the machines are. The Vaayu at ₹11,999 is a waterless cold-air nebulising machine: it works on undiluted oil with no water, no humidity and no wet residue, and it runs on DC 12V / 1A at 5W, which is a very small power draw. The ultrasonics - Boond ₹899, Sukoon ₹1,899 and Megh ₹3,499 - are water-based cool-mist machines, which means they put moisture into the air as well as fragrance. Both types are appliances and both do something mechanical.
Which leads to the practical answer any sound recordist would give you: put it in reception. The client route is where the fragrance earns anything anyway, so siting the machine in reception, the waiting area or the client lounge costs you nothing and removes the question entirely. The recording space stays clear. If you ever want scent in a room that also records, the sequence is to run it well before the crew arrives, switch it off for recording, and let the room hold whatever it is going to hold - which is exactly the timer behaviour the Vaayu's Bluetooth app and scheduling is for.
And apply the ordinary studio prudence you already apply to everything else. Keep any machine away from open equipment cases and away from the spot where lenses get changed, and do not point a cool-mist machine at gear, at a monitor or at anything you care about. That is housekeeping and common sense, not a claim: SOSA does not state or imply that any product protects, damages or is certified safe for photographic or audio equipment, and neither does this page.
There is a second, subtler reason to keep fragrance out of a recording space, and it has nothing to do with sound. Talent stand or sit in that room for hours, sometimes speaking to camera, sometimes singing, sometimes doing take after take of the same line, and quite often already uncomfortable about being filmed. Adding an ambient decision they did not make to a room they cannot leave is a bad trade for something that would earn nothing there anyway - the client's evaluation of your space is being formed in reception and at the viewing table, not on the mark. Leave the floor clear and put the effort where it is experienced.
The same courtesy applies to the crew green room, which is the one space in a production building that belongs to the people working in it. A sound recordist who has been on their feet since seven does not want an atmosphere in the twenty minutes they get to sit down. Leave it plain, keep it aired, keep it clean, and you will be recommended to producers for reasons that have nothing to do with fragrance and everything to do with being a studio that thinks about crew.
Run the numbers on a realistic production floor. A 500 sq ft reception and client lounge at 12 ft is 6,000 cu ft, about 170 m3. A 750 sq ft client area at 12 ft is 9,000 cu ft, about 255 m3. A 1,500 sq ft studio 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. And the bay: 1,000 sq ft at 20 ft is 20,000 cu ft, about 566 m3, while 1,500 sq ft at 20 ft is 30,000 cu ft, about 850 m3. A 3,000 sq ft multi-room floor at 16 ft is 48,000 cu ft, about 1,360 m3, which is already past what one Vaayu is rated for even if it were all one connected space, which it never is.
Now the useful conclusion. The Vaayu is rated for approximately 1000 m3 of connected air, and SOSA's own copy also states 2,000 to 3,000 sq ft scented evenly. A 500 sq ft reception and lounge at 170 m3 sits inside that comfortably - with a great deal of headroom, which is exactly what you want, because you should be running it well below its capability. But if you were to include a 850 m3 double-height bay in the same calculation, one machine is suddenly being asked to do a job it should never have been given, for a room that should not be scented in the first place.
And the boundaries matter as much as the numbers. A studio door that stays shut during a take ends one volume and begins another. A pressure difference from a hard-working AC does something similar. A return grille pulls air away from the room you were trying to fill. If reception smells right and the lounge smells of nothing, look for the grille and the doors before you look for a second machine - and if the lounge genuinely is a separate volume, the answer is a small machine or a reed diffuser from ₹749 in that room, not a bigger number on the first one.
Video studios have one boundary condition that stills studios rarely do, and it is worth knowing before you buy anything ducted. A production floor is often deliberately sealed for sound, with heavy doors, acoustic treatment and a carefully controlled AC path. That means the boundaries in a video building are usually harder and more reliable than in a stills building, which is genuinely good news: it makes a scented reception and a completely clear recording space easy to achieve and easy to keep. But it also means that anything ducted deserves a careful look, because a shared duct will happily join two rooms that your floor plan, your acoustician and your sound recordist all regard as separate.
Practically, that gives you a simple rule of thumb for a production building. Scent by room, not by system. One machine in the connected front of house, sized generously so that it runs well below its capability, and nothing at all connected to the air path of the floor. It is a smaller purchase than most studios expect, and it is the one that survives contact with a shoot day.
- Scent reception, the waiting area and the client viewing lounge only.
- Keep the recording space and the sets clear - and put the machine in reception.
- Run a timer so nothing is running during recording or overnight.
- Do the arithmetic on the client route only, never on the double-height bay.
Register for a photo and video studio, and where the machine goes
On register, a photo and video studio wants what any premium studio wants, so this section can be short and the practical sections can be long. All seven are SOSA's own hotel-inspired interpretations; SOSA is independent and is not affiliated with, endorsed by or connected to any hotel brand.
Quiet Luxury - white tea, bergamot, cedar - is the default and the right answer for most production floors: hushed, polished, neutral across a client, an agency producer, a director and a crew of twenty who all have opinions about everything else. Forest Suite - cedarwood, vetiver, green leaves - is arguably the better fit for the typical video studio's architecture, which tends to be concrete, black steel, a grid and a lot of volume. It reads as structural rather than decorative and it is the register least likely to read as anybody's personal choice, which matters in a building full of freelancers.
White Tea Serenity - white tea, aloe, cedar - suits a pale, minimal viewing lounge and a studio whose whole visual identity is restraint. Old-World Glamour - amber, violet, woods - is beautiful in a dark client viewing room with deep paint and low light, though it is the register that punishes a high setting fastest, and in a room where a client sits for ten hours that punishment arrives early. Tea Garden - jasmine, green tea, white tea - is the answer if a meaningful part of your work is bridal or wedding film, held very low. Warm Welcome - citrus, floral, sandalwood - is a threshold register for a studio whose positioning is hospitality rather than editorial cool. Lobby Bar - citrus, pepper, amber - belongs in a space that hosts evening events and shoots nightlife content, and nowhere near a ten-hour viewing table.
What I will not do is rank those on throw or longevity, because SOSA does not publish that comparison and it would not survive contact with your building. Connected volume, ceiling height, ventilation, the amount of soft material and your setting decide how a register behaves far more than the blend does, and a production floor has more extreme values on all five of those than a stills studio does. The most useful way to choose is still the cheapest: the pack of seven 15ml bottles at ₹1,799, one register a week in your actual reception at a low setting, judged on day five rather than day one.
Now the rooms, which is where a video studio's answer genuinely diverges. Scent: reception, the waiting area, the client viewing lounge, the consultation or pre-production room. Those are the rooms where clients and agency people wait and sit, and the viewing lounge in particular is the video equivalent of an album-selection room - people are in it for many hours, so it takes the lowest level in the building. Do not scent: the shooting floor, the cyc, the recording space, the makeup and wardrobe suite, the equipment store, the edit bay and the green room where crew rest.
Two of those deserve their reasons stated. The makeup and wardrobe suite already contains hairspray, setting spray, primer and a hot tool by mid-morning, and adding a register there makes a third smell rather than a blend - it is a ventilation and cleaning problem instead. And the green room is a crew room: people who have been working since seven go there to sit down for twenty minutes, and putting fragrance into the one room they get to themselves is the fastest way to make your studio unpopular with the freelancers who recommend it to producers.
If you also shoot maternity, newborn or children's work between commercial jobs - and many studios do - the hard rule applies unchanged. A newborn photography room should be fragrance-free, without hedging, and maternity rooms are best left unscented. That is not a health, safety or calming claim in either direction, and SOSA publishes none; it is the courteous structure, and the client's own preference overrides everything on this page. Mechanically it is easy, because a coverage rating assumes one connected body of air and a closed door ends one volume and begins another.
One last register note that is specific to a mixed photo and video building: whatever you choose, choose it once and hold it. Production crews are freelance and they rotate; clients come back for a second and third campaign months apart; a director who shot with you in March returns in September. That is a lot of repeat visitors, which is unusually good raw material for a house style, and the only thing it requires is that you do not change the register when a new bottle catches your eye. One register, held at a low level on the client route for a year, is a signature - and in a building where half the people are freelancers who work in ten other studios, being the one that always smells the same is worth more than being the one that smells interesting.
| Scent | Why it suits the mood |
|---|---|
| Forest Suite · the production-floor default | Cedarwood, vetiver and green leaves. The register that agrees with concrete, black steel, a lighting grid and a lot of volume. Structural rather than decorative, and the least likely to read as any one person's choice - which matters in a building full of freelancers with opinions. |
| Quiet Luxury · reception and viewing lounge | White tea, bergamot and cedar. Hushed, polished lobby calm, and neutral across a client, an agency producer and a director who are all in the same room for ten hours. If you want one decision made for you across the whole client route, this is it. |
| White Tea Serenity · pale, minimal viewing rooms | White tea, aloe and cedar. Clean and weightless, for a light viewing lounge or a pre-production room. Very hard to over-notice at a low setting, which is the right property for a room somebody sits in from a seven o'clock call to a ten o'clock wrap. |
| Nothing · floor, recording space, green room | The shooting floor, the cyc, any space recording audio, the makeup and wardrobe suite, the edit bay and the crew green room. Work rooms, all of them, occupied for twelve to fourteen hours by the people most exposed to whatever you choose. Leave them clear and let ventilation do that job. |
So the buying answer, sized to the client route rather than to the building. For one reception, one viewing lounge or one pre-production room, an ultrasonic is enough: the SOSA Boond at ₹899 for a small enclosed room or the SOSA Sukoon at ₹1,899 for a normal reception, both running the water-based Hotel Collection from ₹299, with 100ml refills at ₹999 and a pack of seven 15ml bottles at ₹1,799 if you want to try registers in your own air. If the front of house runs all day on shoot days, the SOSA Megh at ₹3,499 with its 6 litre tank saves you refilling mid-shoot. Remember these are cool-mist machines that put moisture into the air, so keep them away from gear and never point one at anything you care about.
For a connected front of house - reception, corridor and client lounge open to each other - the SOSA Vaayu at ₹11,999 is the commercial answer, and in a video studio the waterless part is the point: cold-air nebulising of undiluted oil with no water, no humidity and no wet residue anywhere. 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, 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. The Bluetooth app and timer are not a luxury on a production floor - they are how you make sure nothing is running during a take and nothing is running into an empty building at three in the morning.
If your front of house is very large or genuinely ducted, the HVAC machines exist: 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. Be careful here, though, because ducted scenting joins rooms that your floor plan treats as separate - which is exactly what you do not want if the same duct serves the recording space. Talk that through before you commit rather than after, with the duct layout in front of you and, ideally, with whoever designed the acoustic separation in the room. And note the systems are not interchangeable: the ₹299 water-based bottle never goes into a Vaayu or an HVAC machine, and the Vaayu ships with four hotel-inspired waterless blends as one of three bundle choices.
For a small closed room - a pre-production room, a client meeting room, a corner of reception - a SOSA reed diffuser is often the neatest answer in a video studio specifically, because it has no plug, no fan, no timer and nothing that can be running when it should not be. Morning Freshness ₹749, Garden Bloom ₹799, Evening Calm ₹799, Mountain Breeze ₹849 and Fresh Brew ₹849, lasting about 6 to 10 weeks, with 130ml from ₹1,249 and refills at ₹2,399 for 300ml and ₹3,499 for 500ml. Mountain Breeze - pine, sage and cedar - is the closest neighbour to a woody machine register if you want the two rooms to agree.
Placement, finally, because in a video building it is a design decision rather than a matter of where the socket is. Put the machine in the volume you actually want scented - the front of house - and not in the corridor that connects it to the floor, or the corridor becomes what you are dosing while reception gets the leak. Keep it out of the direct path of an AC outlet that will blow it straight across the room, and away from a return grille that will pull it out. Keep it at a sensible distance from where clients sit rather than beside the sofa. And keep it away from open equipment cases and from the spot where lenses get changed - which is ordinary studio housekeeping, not a claim about protection, since SOSA publishes none.
To go further into the parts this page compresses: what a premium photography studio should smell like is the full dwell-time map, room by room, and it is the argument underneath everything here. The best fragrance for a luxury photography studio maps all seven registers onto real studio types if you want to choose properly. And how to make a photography studio smell more premium is the free version - airing, sources and cleaning - which on a fourteen-hour video day matters more than anything you can buy.
What SOSA does not publish, and what this page therefore will not state: any decibel or noise figure, consumption rate, refill frequency, monthly running cost, machine lifespan, minimum order or lead time. Those are all real questions and they get real answers with your floor plan in front of both of you, on WhatsApp at +91 96192 18531. Bulk orders are welcome, custom label or logo on product is available, and bespoke composition made only for your studio is a genuine SOSA service discussed there rather than priced on a page - with the cheaper honest answer offered first, which is that one register held consistently already is a signature.
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.