Kind of a misconception that LDC's are better at bass reproduction than SDC's. The larger capsule has a slower recovery rate and transient response which will make them sound more boomy and compressed (but musically so) than SDC's. But you also loose detail by comparison. Even great LDC capsules like the M7 will start loosing low end around 60Hz where any decent SDC will be flat until at least 10-20Hz. Regardless, the acoustic guitar does not reach low enough to warrant fear that any condenser mic will not be adequate.
Some of the best and most popular mics for guitar in any style are the KM84's, Schoeps MK4 capsules, and to some degree the AKG C451b which is luckily the most affordable of the bunch. In classical, we do tend to prefer omnis. The Schoeps MK2, Neumann KM130's/83's, and DPA4006 are standards. My favorite are my Josephson C617set mics, which have the best detail of any mic on the market, but should be used in a good room only.
If you want something affordable, believe it or not, look at the Behringer SDC's. They actually compare very well to the modern KM184's, and in a recent blind shootout on GS, they were picked over the Neumann's about 70% of the time.
Ribbons can be very nice also. They will allow you to focus the sound and attenuate enough of the high end to make string and fret squeaks less of a problem. But you still need tons of gain unless you find an active model.
I do advocate for not getting in too close, of course. 15 feet is comical overkill as Jeff seemed to insinuate, even though I do know a few people who would try it, but it is good to find a balance between presence, mechanical noise, and room. For country or folk music, one of the most common setups is a condenser 2-3 feet in front of the instrument and another over the right shoulder facing down toward the body.
Hope this helps