My Martin D-28:
This guitar is old enough that it still had the Indian rosewood back, sides, and bridge. I'm the original owner, having it bought it brand spankin' new at Veneman's Music in 1996. The top is Sitka spruce, and the fretboard is ebony. The thing is an absolute canon of a guitar, since it was designed to be loud enough to be heard next to a banjo. You can feel the top working underneath your arm, yet it is also incredibly dynamic. If you pull back, the midrange blooms, the treble starts to roll off, and the whole sound warms up. Pick control is an absolute must, and I find myself strumming very lightly when someone else is soloing. I love what the Rosewood does to the sound: it is the wood equivalent of a midrange scoop, making this guitar perfect for driving rhythms.
My Seagull S12:
This was a gift from my father for my 19th birthday, in December of '93, and I carried it all over my college campus. Every single scratch, ding, dent, and scrape was put there lovingly by me through many long jam sessions with friends, ranging from sober to nearly too drunk to play Dylan songs. The headstock was broken on a drive back from UVA in '95, since the heater was broken on my car. It has a cedar top, wild cherry back and sides, a mahogany neck, and rosewood fretboard. You really need to see the back in person to appreciate how "wild" the grain pattern really is--it looks like a friggin' storm system. This guitar is dark for a twelve, knocking some of the excessive jangle off the top end, and it is surprisingly loud. I keep it down a whole step, and capo it to play in standard.
How's that Seagull? I've never played one.