Scholars believe that the Sarod is a fusion of several ancient and medieval instruments. It is said to have elements of the chitravina, an ancient Indian instrument, the rabab (specifically, the seniya rabab), and the modern sursingar. The instrument's precursor may have existed during the reign of the Gupta kings, as depicted on a Gupta period coin featuring King Samudragupta playing a veena.

Similar Rabab-style instruments can be found in southern India, known as the swarbat, particularly in Tamil Nadu, Kerala, and Karnataka. The folk rabab, popular in North India, had a wooden fingerboard, silk, cotton, or gut strings, and was played with a wooden pick. Another probable ancestor of the sarod is the Afghan rubab from Central Asia and Afghanistan.

In the 20th century, the sarod saw significant improvements by the legendary Allauddin Khan and his brother Ayet Ali Khan. They added more chikari (drone) strings and tarafdar (sympathetic) strings. However, further advancements in sarod luthiery are still required for reliable customization and precise replication of successful instruments.

The sarod's historical lineage is further enriched by the contributions of esteemed musicians and teachers. Pandit Radhika Mohan Moitra and Buddhadev DasGupta, both revered sarod maestros, played a pivotal role in shaping the instrument's development.

Their expertise and guidance were passed down to Sri Koustuv Ray, who carried the lineage forward through his teachings. Sri Koustuv Ray, a master sarod player and vocalist, nurtured and mentored Avi Kishna, instilling in him a deep understanding and love for the instrument.

The journey of the sarod continues, with ongoing exploration and refinement, reflecting the broader state of Indian instrument-making in the present day. The historical lineage of remarkable musicians and the dedication of teachers have played a vital role in preserving and evolving the captivating art of playing the sarod.