legendary

One of Hollywood’s legendary music recording studios is for sale as its owner prepares to end his half-century run immortalizing many of the biggest acts.

The list of household names who have recorded at Conway Recording Studios spans generations and genres. Burt Bacharach, Fleetwood Mac, Stevie Wonder, U2, Guns N’ Roses, Daft Punk, Taylor Swift and Kendrick Lamar are just a few of the artists who have recorded there.

While many studios have struggled, the unique space has attracted big names for decades.

Digital production tools and home studios have eliminated much of the need for traditional recording space, allowing artists to produce professional-quality music almost anywhere, real estate data provider CoStar said.

The digital revolution rocked the analog world of art, media and communication on a scale the industrial revolution did to agrarian and handicraft economies more than a century ago. The advent of Pro Tools recording software in the 1990s and the rise of music streaming services in the early aughts irrevocably changed the business.

Yet industry veterans say surviving facilities with expansive live rooms, vintage gear and decades of recording history may be becoming more valuable as they become harder to replicate. U.S. recorded-music revenue rose 7% to $6 billion in the first half of 2026, according to the Recording Industry Assn. of America. Streaming, physical formats and licensing all posted gains.

Conway Recording Studios is a jungly hideaway on bustling Melrose Avenue created by a transplant from chilly Buffalo, N.Y., who arrived in the 1970s with a vision to create an L.A.-style oasis in the middle of the city where he could pursue his craft as a sound engineer.

“I moved to California to be outside in the warm,” Buddy Brundo said. “I like sunlight.”

He defied recording studio conventions by bringing in natural light through large, soundproof windows instead of working in chambers sealed on all sides.

“You kind of feel like you’re in Hawaii or somewhere else,” at Conway studios, said entertainment real estate broker Nicole Mihalka of CBRE. “That’s what’s kept Conway so busy over the years.”

Among the musicians who came to work there lately was Korean pop group BTS, the subject of a Netflix documentary released in March that followed the young men as they recorded their comeback album “Arirang” after completing their military service.

Brundo appears in the film.

1

2

1. “You kind of feel like you’re in Hawaii or somewhere else,” a real estate broker said of the studios. “That’s what’s kept Conway so busy over the years.” 2. Conway’s clients have included Justin Timberlake, Kendrick Lamar, U2 and Counting Crows. (Genaro Molina/Los Angeles Times)

Taylor Swift is a regular and once created a run on company merchandise by wearing a Conway Recording Studios sweatshirt in public.

People have asked Brundo for years when he might sell the studio he has operated since 1976, said Mihalka, who has the listing.

“Ten years ago I wouldn’t even think about this,” Brundo said. Now, “I’m 83, and how long can I keep this up? It’s best to walk away while I still can.”

He works out three times a week and appears fit, jumping up to play air guitar to Mötley Crüe’s “Girls, Girls, Girls” while showing off the powerful sound system in Studio B. The band recorded the hit 1987 album of the same name at Conway Studios, where members arrived by motorcycle.

Brundo is asking $15 million for the property that spans more than an acre on the edge of Melrose Hill, a niche neighborhood at Melrose and Western avenues known for its trendy restaurants.

It includes three studios, offices, tons of recording equipment, including two grand pianos, lounges, and a kitchen that pointedly lacks a stove.

“Every studio I worked with had a stove, and the kitchen was a mess,” Brundo said.

“Ten years ago I wouldn’t even think about this,” Conway’s Buddy Brundo said. Now, “I’m 83, and how long can I keep this up? It’s best to walk away while I still can.”

(Genaro Molina/Los Angeles Times)

Not that he hasn’t gone out of his way to accommodate his clients. Years ago he shrank his own office to enlarge a lounge for a singer-songwriter who needed space to camp out.

“Courtney Love wanted to book a bunch of time,” but also wanted a place to unwind outside the studio. “We lived here for two months with the kids and the clothes.”

One of his studio innovations was an air-conditioning and filtration system that whooshes out smoke and neutralizes it with charcoal filters and blue lights that kill bacteria, because the official smoking policy is “whatever they want,” he said. On a recent afternoon, a strong scent of cannabis came from Studio A.

To create his rambling California oasis in the middle of a busy neighborhood, Brundo acquired house after house on the south side of his lot over the years so he could keep expanding. He bought and tore down 10 of them.

“Each house was a battle,” he said, particularly one where the owners had an issue with guitarist and outdoorsman Ted Nugent, who accidentally shot an arrow into their yard.

While the property could be used for other purposes, Buddy Brundo hopes to find a buyer who will keep the music going.

(Genaro Molina/Los Angeles Times)

Brundo had set up a Styrofoam deer and a bear on the back of his property to entertain archer Nugent. The musician missed a shot and his arrow passed through the fence and came close to striking a neighbor in her backyard as her husband stood nearby.

“He was really pissed off,” Brundo said of his neighbor. It took Brundo another year to buy the neighbors’ house “because the price went up,” he said.

Today, the foliage a full-time groundskeeper tends has grown tall and thick. Sleek cats roam the grounds.

The parking lot is large for the studio’s size, and its 59 striped spaces have accommodated about $2 million worth of fancy cars at a time, Brundo estimated. It’s also big enough for basketball games, and Brundo recently painted a full court on the asphalt so singer The Weeknd could play ball during downtime.

While the property could be turned to other uses such as stores and housing, Brundo hopes to sell it to someone who will keep the music going even as times change.

The recent backlash against AI-generated music has prompted “a reversion back to the real” with bands using more instruments and needing more space to record, Mihalka said. “There are fewer studios now where you can actually do this.”

The baseball world was captivated by left-handed pitching prospect Jim Abbott ahead of the 1988 major league draft mostly because he didn’t have a right hand. Seven teams passed on him before the Angels picked him.

Why? Largely because Angels scouting director Bob Fontaine Jr. ignored the potential limitations that others fixated on when evaluating Abbott. Rather than dwelling on the absence of a right hand, Fontaine saw something wondrous coming out of Abbott’s left hand — a cut fastball.

“He’s actually more suited to the pro game than the amateurs with the aluminum bats,” Fontaine told The Times after the draft. “He’s going to be breaking off a lot of these wood bats with that cut fastball.”

As usual, Fontaine, who died Saturday at age 73, was prophetic in his assessment. Abbott became the rare pitcher to go straight from college — he’d starred at Michigan — to the major leagues, skipping the minors entirely and enjoying a 10-year MLB career while inspiring numerous fans in disabled communities.

Bob Fontaine Jr. as director of player development for the Seattle Mariners.

(Seattle Mariners)

“I think every scout, if they scout for any length of time, is going to have one player that just is special to you. Jimmy Abbott was that,” Fontaine told JapanBall in 2022. “There were people that were even kind of saying, ‘Oh, they did it for a publicity stunt.’ I remember saying, ‘Yeah, we took the eighth player in the country for a publicity stunt? Give us some credit!’”

Fontaine was showered with plenty of posthumous credit over the weekend. He scouted for six teams, and a highlight of his resume was drafting the nucleus of the Angels’ roster that won the 2002 World Series.

“What a character … what a storyteller … and what a talent evaluator … there is no 2002 World Series title for the #Angels without Bob Fontaine Jr. … RIP,” wrote former longtime Times baseball writer Mike DiGiovanna on X.

“Crushed regarding Bob Fontaine Jr.’s passing, as he was a special man who I was lucky to work closely with three times @WhiteSox @Mariners, and @BlueJays. Fun as hell, elite evaluator, and phenomenal people skills. RIP, Robert,” added former Dodgers general manager Dan Evans.

“A gifted talent evaluator and mentor, Bob helped shape generations of Angels by overseeing the signing and development of numerous Halos, including Jim Abbott, Jim Edmonds, Garret Anderson, Tim Salmon and Darin Erstad,” the Angels said in a statement. “Bob left a lasting mark on baseball by devoting over five decades to the game. Our thoughts are with his family and loved ones.”

The Angels frustrated Fontaine at times by declining to spend big on players from talent-rich Latin America. Rather than sulk, however, he scoured the globe, in 1992 signing three players from Russia and a fast-pitch softball player from New Zealand named Gus Leger.

Asked by The Times’ Bill Shaikin if he had ever played baseball, Leger responded, “I haven’t. Would it help?”

The experiment failed — none of the quartet advanced beyond Class A — yet Fontaine maintained the sunny outlook he inherited from his father. Bob Fontaine Sr. was a scout who worked under the legendary Branch Rickey with the Brooklyn Dodgers before becoming scouting director of the Pittsburgh Pirates for 18 years and the first scouting director of the expansion franchise San Diego Padres. He also served as general manager of the Padres from 1977 to 1980.

“[My father] told me when I got started, ‘Don’t you ever, ever not appreciate where you are and what you’re doing, because you’re lucky. You’re going to a ballpark to make a living, so your bad days aren’t that bad,’” Fontaine Jr. said. “I never forgot that, I never forgot how lucky I am.

“Hey, you’re looking at a guy that barely squeaked through high school, who doesn’t have any ability, and I lasted almost 50 years. It’s because in baseball, if you listen, and you’re not afraid to take a chance once in a while, even somebody with my lack of ability can stay around for a while,” he said.

Fontaine got his foot in the door through his father. His first job as a teenager was as a minor league bat boy with the Pirates. Next he became a peanut vendor at Forbes Field. By age 19, he caught on with the Padres as an area scout.

Both Fontaines were scouts well ahead of the deep empirical and objective analysis of baseball data — sabermetrics is the catchall term — that some believe has made scouts obsolete. Fontaine maintained the best evaluations come when scouting is utilized along with numbers.

“What the traditional scout gives you is personal reference, like with things I learned on players that I missed on,” he said. “Analytics didn’t do that. I’m a firm believer that the best video camera is your eyes, the best model is your brain, and the best way to make a tough decision is with your heart.”

Fontaine’s methods produced results. Under his guidance in 1977, the Padres drafted future Hall of Fame shortstop Ozzie Smith in the fourth round. Four years later Fontaine plucked another future Hall of Famer, taking outfielder Tony Gwynn in the third round.

And when Fontaine moved to the Montreal Expos in 1985, he took a 6-foot-11 left-handed pitcher out of USC named Randy Johnson in the second round — another Hall of Famer.

Fontaine co-authored a memoir in 2021, “In Search of Millionaires (The Life of a Baseball Gypsy): The Accounts of Bob Fontaine Jr.”

“Baseball has provided me with a fabulous opportunity to see the world and work in an industry that most people envy,” he wrote in the book. “I didn’t get rich, except in experiences. To meet and work against so many fine people, as well as some great general managers and owners, has been a privilege.”

Times sports columnist Bill Shaikin contributed to this story.