I have a Taylor 314-CE and I'm not super happy with the sound I'm getting from micing it.  The room isn't acoustically treated, has some reflective surfaces, and I'm getting a "boomy" and somewhat more ambient sound than I'd prefer.  While throwing up some blankets and down some rugs is an option, I was thinking of just recording direct and playing with the sound inside of Sonar.  The Taylor has an electronic pickup system called Prefix Plus, FWIW, and I thought I'd just plug directly into my Focusrite 2i2 interface and see what happens.  Does anyone have any suggestions?  Not sure if I would need a direct box, or if the Focusrite is ok to plug directly into.  Or I have access to a Yamaha AG Stomp (I guess kind of like a Line 6 Pod but for acoustic guitar) if that would be better.  Any thoughts would be welcome!

Oh, and I have the most recent update of SPLAT.  I see I need to update my footer...

You can go direct in, without a DI box, to your instrument input.  However, you might find that the sound is really harsh.  I have a Taylor, also and I find that sound when I record direct not pleasing.
 
If you are getting boomy recordings with a mic, I will suggest several things:
1) Mic position - place the mic 12" away from the guitar and aim it at the point where the fret board meets the neck.  If you aim it at the sound hole, it will be boomy.  If you aim it at the 12th fret it will be thin.
 
2) Use a condenser if you have one.  An SM57 (or other dynamic mic) is ok, but a condenser really captures the sound well.
 
3) You might try recording both DI and mic'd and blend the two together.

For recording acoustic guitar, I find two things are critical:
 
1. Mic placement
2. Post-eq
 
You need to experiment with mic placement, possibly two mics if you are real picky. remember to check phase inversion if you mix the tracks.
 
I almost always cut the bass severely when mixing an acoustic guitar in with other instruments. Even for a solo track, base almost always needs to be cut somewhat.
 
I gave up using the piezo or internal "electric" pickups on my acoustic guitars, they sounded crappy compared to a mic'd track.
 
But: everyone's situation is different. So, see how you go.

A good link:
https://www.soundonsound.com/techniques/recording-acoustic-guitar

I find recording direct from the acoustic guitar pickup into a Focusrite Scarlett sounds magical.

Of course, that depend on the pickup and the guitar. I would imagine with a Taylor the pickup is a quality one.

I use all of the advice mentioned above:

- I record dual ( microphone and direct), and then mix a balance that sounds right in the song within Sonar.

- microphone placement makes a big difference

- microphone itself makes a big difference (if the mic isn't good can't expect great recording)

- if you have a sub-par pickup can't expect fantastic direct recording

- it is possible to EQ etc in Sonar and improve the raw recording

All that said, I get great results (magical sounding) recording direct into a Focusrite Scarlett.

Can't agree more with the others. Try moving the mic around and vary the distance. I built a sound proof, non reflective room just for this. On guitars I use two pencil condenser mic's and get an incredible sound, but I crank it through the headphones to hear things, and find it's mostly the distance from the mic's that makes the biggest difference. However, I still track directly from the pickups at the same time, and nearly always have a mix going from the 3 channels.
 
Having said all that, I'm getting lazier, and maybe better at playing ?  I always start my projects by recording a simple acoustic track sitting at the console plugged straight into my focusrite, then compile the basic drums, then re-track a more precise guitar track, but still plugged straight in, then get the vocalist in to lay down a simple verse and chorus to get keys and tempo locked in, before starting serious drum work and tracking. Probably the same as most I imagine. But I've found myself over the last year or so, using some of these recordings in the mix, finding them good enough on some occasions. I guess it depends upon the material in your mix.
 
But play with it. It's the fun part in my book. good luck.

What a big help, thanks everyone! I have 2 large diaphragm condensers, and I've pointed them at the 12th fret and the bridge. I'll try aiming where the neck meets the body. I like the idea of blending the mic'd and direct signals! I'll give this all a try once the little ones go to bed a bit later. Thanks again.

I record my Taylor 414-CE direct through my RME BabyFace, and I am very happy with the sound.

I just spent about 10 hours putting acoustic guitar tracks to a 14 song album I'm working on. 
 
The 2 guitars are a Art & Lutherie Folk and a Garrison P 500CE which is also a small bodied guitar. 
Both are solid tops with nice bright tone. I don't like Dreadnoughts because they are boomy and impossible to play live into any mike. I use both a mike and DI live and in the studio.  
They also have saddle PU's and pre amps.
The A&L has a LR Baggs LB6 which has very even tone and string to string volume.  
The Garrison suffers a typical under saddle system which results in uneven sound from the strings. I had a Taylor Mini GS and that's why I got rid of it. It was out of wack string to string.  I replaced it with the Garrison  I will eventually replace the saddle PU with the Baggs LB6 a highly recommended upgrade if your suffering uneven volume. 
 
 The little folks size guitars are perfect on a mike and you can even point the mike at the sound hole without severe boomyness. 
I use small diaphragm condensers,  a CAD C9 in studio and a Shure ?40 ( number wore off) 
Small condensers are also better at controlling the boomyness and to me they seem to capture the range of the guitar better than my LDC mikes.
 
 
When I first start a song I just plug into my interface and have at it. But for the final tracks I use the mike and my Radial PZ pre tonebone DI. The DI makes a difference to the PU's impact and well worth the money if your after better tone for both live and the studio. 
I then blend the 2 tracks and pan them about 40%