My totally unqualified opinion
First off, aside from the comment about women, I agree with Muttley on this one 100%, with a couple of additional points:
You've got to know what you want it for. The requirements are different depending on the use. Of course, the one thing they will all have in common is that it has to feel comfortable to you, both body and neck. If you're planning on playing it live in a band situation, it also has to be comfortable to play standing up, which I find to be a whole different ball game than playing seated. Standing, I prefer something smaller and/or thinner, but that's because of the belly that I've developed, a fact you so graciously pointed out.
But, I digress...
What sounds good sitting around in a jam circle or an unamplified coffeehouse(projection, lots of good strong bottom end, but balanced (in
my opinion, Gibson as a
very general rule)), that guitar is often hard to record well (comes out boomy and somewhat harsh).
A guitar that records well (often smaller bodies, thinner tops) sometimes doesn't have the projection/fullness that make it sound as good live. But then again, it depends on the sound you like. Martins have a reputation as sounding better recorded, or at least being somewhat easier to record. They tend to be less boomy and a little more mellow.
Taylors seem to me to lean towards the bright side, and not boomy, which makes them good in a live band situation, as they cut through a little better.
Personally, I love the way Taylors play, but I prefer the sound of a Gibson. On the other hand, most of the artists that I like the sound of play Martins.
I've never even held a Collings or heard one live, but I know they have a very good reputation.
I've only played a couple of Breedlove's. I liked the way they played, but I wasn't
impressed, meaning I haven't been jonesing for one, and I jones for just about everything. But a lot of guys really seem to like them.
And then there's the whole strumming vs. flatpicking thing.
Sorry, I've been rambling. It's late.
You're going to have to go out and play them yourself to see what you like, but Mutt's suggestion of having someone else also play while you listen is right on. The sound is completely different to the player than it is to the audience.
And the way they get that commercial sound is the player, the guitar, the strings, the mic(s), the pre, and the recording space, not necessarily in that order. That's an argument for another day, and one that will never be settled.
But don't pay any attention to me. Think of what you've heard me play. Exactly.
I also like Takimines.