The limitations of the ancient, one-hundred-stringed, hammered dulcimer-like, santoor have been extended by India-born virtuoso, Ulhas Bapat. Adapting the chromatic scale tuning system, Bapat has eliminated the instrument's need to be retuned after each piece. The instrument's inability to reproduce the "meend" or glissando note has been overcome through a modification conceived and developed by Bapat. According to Indian newspaper, "Afternoon", Bapat "has a distinctive style. His system of tuning sets him apart from other santoor players. Thanks to his chromatic tuning, he can shift from one raga to another with facility. This is an advantage to the musician as well as the listener." The Bombay-based "Times of India" wrote, "It is a delight to watch Bapat handle the instrument in a different style: more resonant notes emerge."
The son of a reknown Indian vocalist, Shri Yeshiwant Ganesh, Bapat studied the tabla, as a youngster, under Pandit Ramakant Mhapsekar. Soon after beginning to sing, he began to study the santoor, with the assistance of Zarin Daroowala Sharma. He continued to study classical Indian singing under Pandit Wamamrao and Pandit K. G. Ginde.
Since performing his debut concert for the Sancharini, an organization founded by Ravi Shankar, in 1975, Bapat has toured throughout India, Canada, The United States and the United Kingdom. His two albums, In Custody and Conversations, were recorded with Pandit Narayan Mani. ~ Craig Harris, Rovi