What This Mashup Actually Is
I've been watching electronic and pop mashups for longer than I care to admit, and the Naresh Parmar cut combining Alan Walker's "Faded" with "On My Way" sits somewhere between a solid fan edit and something that actually holds up on its own. Naresh Parmar is an Indian producer and DJ who's been putting out mashups on YouTube for years, and this one's no different from his other work in terms of technique, but it does stack two recognizable Walker tracks that most people hear separately. Alan Walker released "Faded" back in 2015 and it became one of those tracks that saturated every playlist, gaming stream, and club set for the next two years. "On My Way" came out later, in 2019, as part of the album "Different World." Both tracks share that signature Walker sound: pitched-up vocal chops, a four-on-the-floor build, and a drop that leans heavily on supersaw chords. That common DNA is exactly why this mashup works without sounding forced. When I first pulled both stems apart in Ableton to test the blend, the key alignment was the obvious question. "Faded" sits in A minor. "On My Way" is also in a minor-key environment, which turned out to be the easiest part of this whole process. The tempo was another matter. "Faded" runs around 90 BPM half-time, while "On My Way" sits closer to 100 BPM. Parmar likely used time-stretching algorithms — probably something like Elastik or Granular in Ableton, or perhaps iZotope's RX — to bring them into the same grid without ruining the vocal transients.
My own attempt at a similar blend taught me that the vocals are where things usually fall apart. The female vocal in "Faded" is heavily processed with reverb and delay throws that don't always play nice when you're layering a second vocal line on top. I ended up carving out about 2.5 kHz from the "On My Way" vocal bus so it wouldn't clash with the "Faded" lead, then sidechained both to the kick drum at a 60ms release setting. Without that, the mix turned into mud around the 1-minute mark of each loop. If you're looking to download the original Naresh Parmar version, it's available on YouTube as a free stream, and you can find it by searching the full title. There's no official paid download from him directly through major platforms, though some third-party converters will pull the audio if you go that route. I generally don't recommend the converter route because you lose quality going from AAC to MP3, but for personal reference it's serviceable at 128k. The arrangement structure here is straightforward compared to a lot of mashups. Instead of throwing everything at once, Parmar layers the drops separately and lets the verses breathe. You get the "Faded" vocal intro, then the "On My Way" beat enters around the pre-chorus section of the original, and the double drop hits when both tracks' climaxes overlap. It's a technique that requires less key manipulation because you're not forcing both leads to play simultaneously throughout the entire track.
One thing beginners miss when trying their own versions is the low-end management. Both tracks have sub-bass presence, and stacking them without a high-pass filter on one of them will cause phase cancellation that makes the whole thing sound thin on laptop speakers and distorted on anything with a subwoofer. I usually roll off everything below 35Hz on the secondary track and let the primary bass carry the low end. It's a small move that makes a noticeable difference. The vocal timing between these two tracks isn't perfectly locked either, which is another reason the arrangement approach matters. "Faded" has those held-out vowels that drag slightly behind the beat, while "On My Way" has a more rhythmic, syncopated vocal delivery. Parmar uses the instrumental breaks as space for each vocal to occupy alone rather than fighting for the same frequency and time slots. It's a practical decision that keeps the track from feeling overstuffed. For anyone who wants to dig into the actual file or study how it was constructed, the stem availability is limited. Naresh Parmar doesn't release official multitracks, so any remix or re-edit would require isolated sources from external libraries or careful extraction using tools like VocalRemover or Moises. The quality of those stems varies wildly depending on the source track and how much processing was applied originally.
Get the Full Details
I've found that the most honest assessment of this mashup is that it's competent and enjoyable without being revolutionary. It doesn't push the format forward or reveal anything surprising about either source track, but it also doesn't stumble into the common traps that make most fan mashups unlistenable past the first minute. That's probably why it's gotten the views it has — it's the audio equivalent of a well-made sandwich. Nothing exotic, just done correctly. If you're interested in the technical breakdown, the track runs approximately 3 minutes and 40 seconds at a blended tempo somewhere between 95 and 97 BPM. The master appears to be pushed to around -9 LUFS, which is standard for YouTube loudness normalization. There's no severe clipping visible in a waveform check, and the stereo image stays reasonably centered except for the ambient pads that widen in the drops. It's a clean enough master that I haven't needed to apply additional limiting when using it for reference.
