Michael, The principle is well taken, but is not complete. I'm not familiar with the Wolfe note as a name, but we are all aware that there are certain frequencies that will resonate better in a soundbox/soundboard combination - and that can vary with the design. I give you the harp, with no "rose" hole in the sound board. There is an access hole in the back to get to the strings to replace them - except in the Paraguayan harp, with a thin "shell shaped" back like the lute and an access hole at the base. I have no idea what a harp would sound like with a fully enclosed sound box - no one will make one as the original strings would have to last forever. But one could make that theoretical harp with a resonating chamber that would favor certain notes. But more likely the main factor would yet be the sympathetic resonance of the strings within the overtone series of the plucked string.
It is my opinion that the specifics of the sound hole are less important than the overall range of resonation of the soundboard. And that involves the bracing, the sound hole, the backing for the rosette, and whatever else is involved. I'm sure one could make a "lute/guitar" that would project well without a soundhole, but not sure how to do it. It would be a matter of material. Best, Jon
