I would offer these thoughts: the acoustics people tell us that a guitar is a compact, stringed, fretted version of a helmholtz resonator. The neck may resonate, but very little and at severly attenuated high frequencies compared to the body (the "box", if you will). Carbon fiber necks, being more dense, will likely resonate even less. When we hear a guitar played by someone other than ourselves, the sound we respond to is overwhelmingly the sound resonating from the top, moderately from the sides and close to nothing from the back, which is also often damped by the player's body.
Pointing a microphone at the sound hole is pointing it at a void- you will get some sound there, but it is really sound emanating from the top, and sounds different compared to the direct top sound by its off-axis nature. The idea that unadulterated string sound is found there is unsupportable, because the output of the strings is LESS there than you hear from an unamplified electric guitar. Though I haven't done it, probably a very similar sound would arise
( discounting what changes ambient acoustics may be encountered, plus any other room instruments that may be playing) if aimed a similar distance of top-to-hole behind the guitar. Mic'ing at the neck or at the hole may very well sound different, because at the neck you are really getting an off-axis sound of a narrow part (the guitar shoulders) of the top, which in turn will have less low frequency content because of the proximity of a smaller (think high frequency) part of the top. The sound hole (misleading, no?) sounds different for similar reasons, but mostly for what it's not.
Arched/carved tops record differently. Most arched tops are laminated ( a nice word for plywood?) and the glue between the layers acts as both a damper and an isolater, and for that reason often don't record well, though string condition seems to be more critical here.
True carved tops are a different breed altogether. Like Gibson L-4s, L-5's, Campellone, Benedetto, Montleone, D'Quisto, etc ( did Stradivarius have something to do with the Italian dominance?) are carved from single pieces of wood for each top and bottom. The wood has no inter-layer glue, thus no dampening or isolation, and will just be more robust sounding. Plus there is more area to the top (no sound hole) thus more resonating surface. Research has shown that the actual shapes of the f-holes act as high-frequency resonators, different f shapes (think variations in mass) resonating more or less at different frequencies.
Carved tops are labor-intensive, expensive, and are as close to arch tops as lightning is to the lightning-bug. And they record great. Shoulda bought the L-5 25 years ago for $2500.
Mic choice as always is highly subjective, but my preference has always been SDC's, because, depending on material and the particular instrument, acoustic guitar is transient-rich, and unless we're looking for something subdued and mellow, condensers are more likely to deliver those transients.