Actually PBass, I have moved up to house calls. I look for small house pets to sell for research.......then move on to TP parties if no animals are home.....on special occasions, and when I remember to get some at the store, eggs of car paint jobs are becoming my new tactic.....may have to think up something new now though......
So since humor has escaped you, and you DID actually ask a more specific question, well, now I can't even consider any of the above and just have to state an opinion....
The Line 6 amp is an okay "emulation" amp. Another studio owner in town here bought one and I got a chance to hear a bunch of stuff he recorded with it, and he let me jam through one for about 30 mins. While many of the emulations were close to the real thing and could fool someone not listening close, it really DIDN'T sound that close upon closer listen or comparison. Actually had a Fender Twin Reverb right next to it for a quicky comparison, and the Twin emulation on the Line 6 was really not even close.
Another studio I engineer at got the POD unit. I got to hear a bunch of stuff recorded with it too. The studio owner that has it only really uses it for clients that are doing quicky sequenced demo's and the POD tends to sound more believable when mixed with other "emulated" instruments. So it does have a good purpose because he can get a decent sound quick with it.
But in any case, neither unit seems to really sound like the amps and speaker combos there are supposed to emulate. Is it worth the money? Well, that is totally up to you. Do you want something that sort of sounds like a bunch of other things? Or does the real thing float your boat? If you are looking for a Marshall JCM 800 through a Marshall 1960 cab, and for a Fender Blue's Deville sound that is authentic, well, buy the two amps. If a somewhat decent emulation of both is good enough, get the Line 6 or POD. Centainly the emulators are a lot cheaper.
Another thing to remember is that many guitar players have their amps severly modified by people who know their business. Often the stock amps just don't have the sound the artist is looking for, and being seemingly made of money from good record sales, they just have somebody nudge the amp closer to what they really want for a sound. Putting a different tube in a Marshall and having an extreme bias done on it really opens up possibilities too. Hell Tom Scholtz of Boston like to wire in a burned out of resistor or capasitor (forgot which) into an old Vox amp to get some of the great tones he gets. So you can see that the possibilities are endless for good amp tones.
Ed