I would go with a Mahogany 12 fret of some sort with either an Engelmann/Euro Spruce top or Cedar top (1st choice would be the Euro). Gives you a nice midrange push for fingerstyle with just enough low end to round out the bottom without being boomy. Easy to record. A 512 12-fret would fit this bill very nicely, thank you.
For more aggressive strumming and rocking out, I would go Grand Symphony body shape. The tighter waist at the sound hole gives the tone more clarity while still providing plenty of volume and power when compared to a Dreadnought. Tonewood wise, that's all personal taste. For recording or stage work, a lot of people recommend Maple and Sitka - Flat response and minimal overtones to deal with. Personally, I like the way that Rosewood scoops out a spot from the midrange for my voice. Top that with Sitka and Adi bracing underneath, and you have an absolutely killer instrument. 616 for the Maple, 816 or 916 for the Rosewood side.
Personally, I have the 12 Fret Fall Ltd from a couple years ago (Quilted Sapele, Euro Spruce w/Adi bracing) for the fingerstyle recording and 916ce with Adi bracing for the strumming and they do wonderfully in the studio. Easy to mic, easy to record. Now, that being said -- Over the years I've had equal luck with Cocobolo topped with Sitka, Engelmann or Redwood in big and small bodied instruments. For years, my "go to" recording guitar was a Cocobolo/Sitka Grand Auditorium built in '02. It works fine today, but my ear is now leaning toward the warmth in tone that the newer designs provide. Hence the transition.
I honestly think it has less to do with the tonewoods and much more to do with the bracing. There has been a "Coming of Age" for Taylor's tone in the past years - Much more complex and mature to the ear. They haven't changed the woods they're using. However, there have been some radical changes to their internal construction techniques that bring about this improvement. I absolutely love it.
