All of the options you would have available on the physical gear are in POD Farm, giving you the tonal ability to dial in a sound the way you would with the actual equipment. There’s something very analog about the way you can operate POD Farm, in that every parameter offered can be controlled by a knob. Or if you’re just sitting around on the tour bus/at home, there’s no need to set up equipment for 15 minutes just to jam. Instead of lugging around large amps and effects pedals/racks, guitarists can run their signal into this application and out of the computer, straight into the house PA. This cuts down on the processing power required in a large DAW and makes it so the user can just plug in and play. If you aren’t someone who does a whole lot of recording, but want a convenient way to bring a whole collection of sounds with you, POD Farm 2.5 runs as its own independent application. For cover/tribute acts, these presets are an amazing asset, requiring little to no tweaking necessary to replicate the tone they need. Presets can easily be navigated by the drop-down menu at the top, or from the preset view mode directly to the left of the Line 6 logo. Take for example Metallica’s collection of presets to the left. Many artists with multiple famous guitar tones will have presets for each of those songs. The 1,100+ presets that come stock with the Platinum version of POD Farm include artists from Led Zeppelin to Fall Out Boy to Owl City, ensuring that there is something for lovers of many genres. The first thing that struck me when opening POD Farm for the first time was the sheer amount of presets that had already been created for users to instantly dial in and tweak. The people at Line 6 have figured out a way to emulate just about any tone in a single software, saving you time and processing power that can now be applied elsewhere. The POD Farm software can be used as a plug-in for any DAW that has AU/RTAS/VST support, or can be run as a standalone application. POD Farm from Line 6 allows you to break free from space limitations by modeling the most popular equipment from the past 50 years in the music industry.
Unless you own a multi-million dollar studio though, you’re probably limited to a dozen amplifiers at most, and usually not much for effects pedals without the musician supplying their own.
It’s safe to say that any guitarist would love to have one of every amp, every pedal, and every other form of processing available in the ideal studio.
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