There is a similar pattern / trend in the way Himesh - the pre ABA composer used some of his typical instruments/vocals from 2003 to 2005.

Feel good (string based) guitar riffs (with an inherent twist) used as theme pieces and intermittently throughout:

> From 0.52 to 1.03 in CHURA LO from TAARZAN - THE WONDER CAR.

> From 0.55 to 0.16, 1.23 to 1.26, 3.32 to 3.34 & 3.54 to 5.06 in AAP KI KHATA from BARDAASHT.

> From 1.01 to 1.23 to TERE NAAM TITLE TRAX.

> From start to 0.19 in ISHQ HAI ISHQ HAI from ANJAANE - THE UNKNOWN.

> From 0.26 to 0.44 in JUST WALK INTO MY LIFE from MAIN AISA HI HOON.

> From 0.41 to 1.01 in KABHI NA SUKOON AAYA from KOI AAP SA.

> From 0.35 to 0.45 in MERI NAS NAS MEIN TUM HO from DIL NE JISE APNA KAHA.

> From 0.12 to 0.22 in DIL MERA TODO NA from MAIN AISA HI HOON.

> From 1.00 to 1.10 in TUMHARA SANAM from SHUKRIYA.

> From start to 0.43 in CHEHRA TERA from YAKEEN.

> From start to 0.10 in POOCHO NA KYA HOTI HAI from NIGEHBAAN - THE 3RD EYE.

> From 0.03 to 0.10 in MAINE CHUN LIYA from DIL MAANGE MORE.

> From 0.35 to 0.45 in AAKHIYAAN LADAAJA from BLACKMAIL.

> From 0.51 to 1.09 in DIL SE JURA EHSAAS HAI TU from TAARZAN - THE WONDER. 

> From start to 0.21 in TERE DIL KA from KOI AAP SA.

He went on to use this trait also in some of his post ABA songs (which had a pre ABA touch n some pre ABA elements):

> From 2.41 to 2.59 in NANHE YAAR from NANHE JAISELMER.

> From 1.02 to 1.12 & 4.14 to 4.43 in JAB KABHI from 36 CHINA TOWN.

> From 0.31 to 0.50 in ISHQ DI GALI in MILENGE MILENGE ORIGINAL VERSION (though it released in da post ABA era, it was primarily a pre ABA song).

Gradually rising quick haunt feel piano key flicks:

> From 3.08 to 3.09, 3.28 to 3.30 & 4.40 to 4.41 in AE DIL YEH BATAA from JULIE.

> From 0.23 to 0.24 in SLISILAY MULAQATON KE from BARDAASHT.

> From 0.05 to 0.07 in TERE NAAM SAD from TERE NAAM.

> From 3.56 to 3.57 & 4.23 to 4.25 in TERE NAAM TITLE TRAX.

> From 4.17 to 4.18 & 4.27 to 4.28 in AAKHIYAAN LADAAJA from BLACKMAIL.

> From 0.20 to 0.23 & 1.31 to 1.32 in BHOOL JAYENGE HUM from KUCH MEETHA HO JAAYE.

> From 1.04 to 1.08 in RAAT HAI SOYI SOYI from MAIN AISA HI HOON.

> From 2.57 to 2.58 & 4.17 to 4.18 in CHURA LIYA HAI TUMNE TITLE TRAX.

> From 1.08 to 1.13 in TUNE MUJHKO DEEWANA KIYA from YAKEEN.

> From 3.13 to 3.16 & 3.35 to 3.38 in MAINE CHUN LIYA from DIL MAANGE MORE.

> From 1.24 to 1.25 & 3.15 to 3.17 in AANKHON MEIN SAPNA from IQBAL.

> From 1.11 to 1.14, 1.40 to 1.43, 2.54 to 2.57 & 4.34 to 4.37 in NAZAR AA RAHA HAI from AAITRAAZ.

> From 1.07 to 1.09 & 2.48 to 2.50 in TUMSE MILNA from TERE NAAM.

> From 1.50 to 1.51, 2.57 to 2.58 & 4.17 to 4.18 in CHURA LIYA TITLE TRAX.

> From 1.55 to 1.57 in LUTF DE GAYI from ISHQ HAI TUMSE.

He went on to use this trait also in some of his post ABA songs (which had a pre ABA touch n some pre ABA elements):

> From 1.40 to 1.43 & 5.38 to 5.41 in NANHE YAAR from NANHE JAISELMER.

> From 0.52 to 0.54 & 1.22 to 1.25 in TU HAI ISHQ from FEAR.

Fast paced tabla hit pattern (before each stanza):

Used to give kick and sahi desired effect.

> From 1.51 to 1.52 & 3.21 to 3.22 in BHOOL JAYENGE HUM from KUCH MEETHA HO JAAYE.

> From 3.10 to 3.12 & 4.32 to 4.34 in KYUN KI ITNA PYAR from KYUN KI! ITS FATE.

> From 1.53 to 1.54 & 3.01 to 3.02 in DIL KE BADLE SANAM from KYUN KI ! ITS FATE.

> From 1.01 to 1.02 DIL MERA TODO NA from MAIN AISA HI HOON.

> From 2.02 to 2.03 & 2.18 to 2.18 in TUNE MUJHKO DEEWANA KIYA from YAKEEN.

> From 1.47 to 1.48 & 2.05 to 2.06 in TERE NAAM TITLE TRAX.

Profound three heavy laidback tabla hits:

> From 1.29 to 1.30 & 1.54 to 1.55 in MERI NAS MEIN TUM HO from DIL NE JISE APNA KAHA.

> From 1.21 to 1.22 in KABHI NA SUKOON AAYA from KOI AAP SA.

> From 0.42 to 0.43 in CHEHRA TERA from YAKEEN.

He went on to use this trait also in some of his post ABA songs (which had a pre ABA touch n some pre ABA elements):

> From 1.44 to 1.45, 2.08 to 2.09, 2.18 to 2.19 and so on in NANHE YAAR from NANHE JAISELMER.

> From 1.12 to 1.13  in TU HAI ISHQ from FEAR.

Profound quick tabla hit pattern:

> From 0.45 to 0.46 & 1.02 to 1.03 from BHOOL JAYENGE HUM from KUCH MEETHA HO JAAYE.

> From 0.57 to 0.58 & 1.19 to 1.20 in DIL KE BADLE SANAM from KYUN KI ! ITS FATE.

Female soothing background chorus UUUUUUU

This was a household trait used in umpteen pre ABA songs, to name a few:

> From 1.21 to 1.31 & 1.44 to 1.49 in BHOOL JAYENGE HUM from KUCH MEETHA HO JAAYE.

> From 2.32 to 2.41 in RAAT HAI SOYI SOYI from MAIN AISA HI HOON.

> From 0.35 to 0.50 in MAINE CHUN LIYA from DIL MAANGE MORE.

> From 1.49 to 2.05, 3.46 to 4.03, 4.28 to 4.38 & 5.32 to 5.50 SEENE MEIN DIL from KOI AAP SA.

> From KABHI NA SUKOON AAYA from KOI AAP SA.

> From 4.43 to end in KI KARA MEIN KI KARA from NIGHEBAAN - THE 3RD EYE.

> From 3.26 to 3.34, 4.21 to 4.41 & 4.59 to 5.07 in TUNE MUJHKO DEEWANA KIYA from YAKEEN.

He went on to use this trait also in some of his post ABA songs (which had a pre ABA touch n some pre ABA elements):

> From 4.49 to 5.09 in JAB KABHI from 36 CHINA TOWN.

> From 3.05 to 3.12 in DIL TUMHARE BINA from 36 CHINA TOWN.

> From in AAYA RE from 2.56 to 3.03 & 3.45 to 4.01 in CHUP CHUP KE.

Jayesh Gandhi's croons

Jayesh Gandhi's high pitched intense vocal alaaps that were a household pre ABA trait.

Suzanne D' Mello's seductive feel croons

> From 3.08 to 3.19 in CHURA LO from TAARZAN - THE WONDER CAR.

> From 0.06 to 0.31 & 3.32 to 3.51 in BELIBAAS from SILSILAY.

> YOU DRIVE ME CRAZY from 2.26 to 2.28, croons in between 4.30 & 4.40 in TERI GALIYON SE from MAIN AISA HI HOON.

> From 0.03 to 0.26, OH BABY COME TO ME I WANNA BE WITH YOU from 3.38 to 3.55 in MERI CHAANDI TU from SILSILAY.

> From 0.03 to 0.17 & 0.41 to 0.54 in IS TARAH DEEWANE from INSAN.

> From 2.24 to 2.33 in AANKHEN BANDH KARKE from AAITRAAZ.

> From 1.21 to 1.22 & 1.26 to 1.27 in NAZAR AA RAHA HAI from AAITRAAZ.

> From 0.37 to 0.45, 3.40 to 3.44 & 5.32 to 5.34 in BHEEGI BHEEGI from JULIE.

He went on to use this trait also in some of his post ABA songs (which had a pre ABA touch n some pre ABA elements):

> From start to 0.31 in AAKHIYON SE GAL KAR GAYI from SHAADI SE PEHLE.

Female Singers

For love duets, Himesh's first default preferred choice was Alka Yagnik, followed by Shreya Goshal.

For stage / item / club / seductive feel songs, Himesh's preference was Sunithi Chauhan and Alisha Chinoy (only a few songs).

Male Singers

For love duets, Himesh's preferred choices were Kumar Kanu, Udit Narayan and Sonu Nigam. From 1995 to 2002, Sanu was the first preferred male singer for Himesh's songs in that period. However, after 2003, Udit Nayaran replaced him and took over his numero uno spot in Himesh's music with Tere Naam onwards. Sanu sung a few Himesh songs after that i.e. in Vaada, but then faded away from Himesh's sound over time.

For stage / item / club songs, Himesh's preference were Shaan and KK.

Loud Female Voice Whispers

> JALWA from 0.53 to 0.54, 1.00 to 1.01, 1.07 to 1.08 & 1.14 to 1.15 in O JAANE JIGAR from YEH HAI JALWA.

> CHURALIYAAAA from 3.47 to 3.49 in CHURA LIYA HAI TUMNE TITLE TRAX.

> MIRCHI from 0.36 to 0.39 in MOHABBAT HAI MIRCHI from CHURA LIYA HAI TUMNE.

> CHURALIYA from 3.47 to 3.47 in CHURA LIYA TITLE TRAX.

> DIL MAANGE MORE from 1.54 to 1.56 in SHIQWA HAI TUMSE from DIL MANGE MORE.

> KU BA KU from 0.57 to 0.59 in KU BA KU from DIL MANGE MORE.

> AABRA KA DAABRA from 0.17 to 0.23 in SHIV OM from AABRA KA DABRA.

> TAARZAN from 1.24 to 1.26 in THE HEART OF TAARZAN from TAARZAN - THE WONDER CAR.

> DIL at 1.49 in LUTF DE GAYI from ISHQ HAI TUMSE.

He went on to use this trait also in some of his post ABA songs (which had a pre ABA touch n some pre ABA elements):

> AKSAR from 0.49 to 0.51 in THEME PIECE from AKSAR.

> CHINA TOWN from 0.07 to 0.09 in AASHIQUI MERI from 36 CHINA TOWN. 

Grand opening with African vocals n heavy drums in item / club / stage numbers

There used to be larger than life grandeur opening along with African-ish male vocals and profund heavy raw drum hits at start of pre ABA item / club / stage songs

> MOHABBAT HAI MIRCHI from CHURA LIYA HAI TUMNE.

> BARDAASHT NAHI KAR SAKTA from HUMRAAZ.

> MERI CHANDI TU from SILSILAY.

> DILLI KI SARDI from ZAMEEN.

> JAANABE ALI from BARDAASHT.

> SOORAT PE TERI PYAR AAYE from FOOTPATH.

> IMLI IMLI from BLACKMAIL.

> RAIN RAIN from INSAN.

> ISHQ TEZAB from JULIE.

Mesmerizing Oriental flute:

Used mainly in serene ballads, mostly at start and intermittently in between stanza gaps.

> From 0.20 to 0.40 in DEEWANAPAN DEEWAANGEE from MAIN AISA HI HOON.

> From start to 0.13 in IS TARAH DEEWANE from INSAN.

> From 0.04 to 0.12, 0.54 to 0.59, 2.30 to 2.33 & 3.50 to 3.55 in CHURALIYA HAI TUMNE TITLE TRAX.

> From 1.00 to 1.20 & 4.29 to 4.39 in AAKHIYAAN LADA JAA from BLACKMAIL.

> From 0.52 to 1.11 & 1.34 to 1.36 in O SAJAN from TAARZAN - THE WONDER CAR.

> From start to 0.09 in DHADKAN HO GAYEE from JULIE.

> From start to 0.10 in MAINE CHUN LIYA from DIL MAANGE MORE.

> From 1.48 to 2.09 in AHISTA AHISTA from SILSILAY.

Intense Raaga instrument:

> From 2.53 to 2.58 in DIL KE BADLE SANAM from KYUN KI ! ITS FATE.

> From 1.13 to 1.16 & 1.20 to 1.23 in RAAT HAI SOYI SOYI from MAIN AISA HI HOON.

> From start to 0.19 in O MERE HUMSAFAR from JULIE.

> From 4.19 to 4.30 in KYUN KI ITNA PYAR from KYUN KI! ITS FATE.

> From 3.03 to 3.20 & 5.01 to 5.06 in AAP KI KHATA from BARDAASHT.

Pleasant Bansuri / Traditional Flute

Used to depict innocent feel.

> From 2.53 to 3.02 in TERE NAAM TITLE TRAX.

> From 3.05 to 3.10 in OODHNI from TERE NAAM.

> From 0.19 to 0.30 & 2.24 to 2.34 ISHQ HAI ISHQ HAI from ANJAANE - THE UNKNOWN.

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