two topics blanded in one:

of course your voice mic is getting the gorgeous sound of your X10N. is that really bad? really don't think so. you just need to adjust the gain of the mic and getting a bit closer to it. as you don't need to remove the sound of the guitar from the recording there is no problem with having a bit of it in the voice mic. anyway, you can use a panel between the sound of the guitar and the voice mic. there are a lot of proffesional models out there

second: i had veeery good experiences with the rick turner's renaissance. it's an amazing instrument. it's expensive but really great. around here in spain the godin are becoming quite popular but they are heavy as hell. also parker has some interesting half carbon nylon electrics (i think here in the forum laughing has one, and another member (hucbald?) used to have one)... my opinion: the rick tuner OR you should write Alistair again. remember he is widely known for his amazing custom electric carbon guitars. i think he'll be more than happy to build one for you again.

anyway... have you tried to put a soundhole tap? they are quite inexpensive and use to do it's job nicely

good luck in your search

I think that you're going to find that even a Nylon with no sound hole will still produce more output than desired for your application.  I know that the Parker Nylon is far louder than you would expect from a guitar with no soundhole; the entire body resonates though, as would any carbon guitar as you describe (hollow with no sound hole).  I believe that it's the rigidity of the CF that makes these solid instruments sound so acoustically powerful.  In any event, to have the best editing capability, you probably should just start tracking vocals and guitar separately, although some kind of isolation chamber/ baffle for your guitar could work too...

Martin;

Thanks for your suggestions.  I have a Multiac and you are right--it's a heavy son-of-a-gun.  I've tried the Parkers and they just didn't seen right for me.  I like the Rick turner renaissance, but it's wood and I'd hate to ruin such a beautiful and expensive guitar.  Also, the Turner does not have  on-board  EQs/turner.  I am thinking of talking with Alistair, but I foresee a problem in trying to get on-board electronics in an ultra thin body.  In the meantime, I am enjoying what I have and looking forward to the road trip with two Blackbirds.

Larry;

I think you are right.  I tried blocking the sound hole on the X10N and the darned thing projected beyond belief.  I think maybe the best thing is to get more precise with my guitar playing and/or  record the mic and the guitar individually.  I've played the steel string Parkers and you're right about them, also--they project, unplugged, at a level sufficient for song writing and small room play--amazing!

of course, you should never consider a Parker.  after what they did to our friend Alistair...

there are thousand options for on-board electronics, so don't desperate. you can always add a clip tuner also

No clip tuners.  I've been carrying around tuners for 40 years, losing them, spilling things on them, stepping on them, and so forth.  Once I played my first guitar with an on-board tuner, that was it for me.  I did buy an acoustic/electric  Breedlove, several years ago,  that did not have an onboard tuner--but I changed that as soon as I was able.  Onboard tuners are especially valuable, I think, with nylon string guitars. 

Isolating your guitar's sound from your vocal mic is often (not always) fairly important even live.

It's critical if you're using some kind of voice correction box (they hate guitar bleed).  And can be fairly important if you're playing in a band situation and the Sound Guy (TM) is interested in isolating various signals to create a good combination and/or various monitor signals.

A super or hyper cardioid mic can be your friend.

BW:

Thanks for the info.  I think that's where I'm going to start--either a super or hyper cardiod mic.  I've used the Shure 57 and 58 for years and have found them satisfactory for performance.  I'll have to do a little research first, check out price and so forth.  I'm up for specific recommendations???

I use the 57 cause it's so easy to get right and mostly I don't mind the bleed for what I do. 

I have also used my hyper cardioid EV N/D767a which sounds like the 57 with more zing, and it won't bleed at all.  I bought it on eBay for $35, and you can easliy find 'em for less than $100 new.

Were I to step up to a condenser (for my guitar) on stage I'd buy an Audix VX5 or a Shure Beta 87a rather than a pencil mic so that it could do double service.

ok, you even have more options.

there is one interesting technique that some great technicians use. it may sound too rough and unprofessional, but it works. they use it when you happen to have a singer that really needs to hear all around with loud volume and can't stand earphones (it happens really often). so the recording goes like that. full volume through the speakers and the mic recording the singer. afterwards, the technician pick this signal AND the signal of what sounded through the speakers, changing the fase of this one, so it cancels the sound. when you bounce the signal with the inverted fase one the result is pretty nice. not perfect, works.

so, you can record yourself like you have done until now. then, you double the track of the guitar, adjust the volume of this doubled channel to match the amount of guitar that sounds on your voice channel, the change it's fase and bounce this two tracks. then, tell me if it works ;)

really, it seems complicated, but it is not so much... no professional technician would admit to use this technique, but is very frecuent

as for the mic, i personally prefer the 58 for male voices over the 57 (my voice doesn't sound right through the 57, but nice with the 58)