I have a fairly new Mojave MA-201fet (LDC, FET, Cardioid only) mic.  My plan was to use it in front of the bass drum in combination with a D112 inside of the bass drum.
 
I am not thrilled with the results I got using it in this configuration.
 
Any thoughts on using it on the snare … either top or bottom.  Will I destroy it?
 
Maximum SPL: 125dB

 
I don't think you'll destroy it. The Max SPL is probably describing the circuit's limit more than the diaphgram's. Please notice that I said "probably". :-)
 
I asked a question about mics for toms over here:
 
http://prorecordingworkshop.lefora.com/forum/category/the-microph-the-microphone-closet-hosted-by-david-bock-and-ben/
 
and was able to learn stuff from a fellow who's facility had recently tracked drums for the latest Iron Maiden album. 
 
best regards,
mike

If your drummer can hit 125dBSPL, check and see if he also turns green and tosses cars around when he gets mad.

LOL.
 
You got me to go try it.
 
My cheapy SPL meter says that I can barely make it to 110dBSPL with Fast response and C weighting.
 
I had the mic up on the skin right next to where the stick was striking. My actual snare mic position is seeing a lot lower level.
 
:-)
 
 

quantumeffect
I have a fairly new Mojave MA-201fet (LDC, FET, Cardioid only) mic.  My plan was to use it in front of the bass drum in combination with a D112 inside of the bass drum.
 
I am not thrilled with the results I got using it in this configuration.
 
Any thoughts on using it on the snare … either top or bottom.  Will I destroy it?
 
Maximum SPL: 125dB

Hi Dave,
 
First, think about what you're not liking/getting with your current mics/placement.
That'll make it a whole lot easier to achieve the desired result.
Otherwise, you're stabbing in the dark...
 
Generally speaking, a LDC as a close mic on the snare will capture a more full/round sound than a (typical) SM57... but the transient will likely be less aggressive (due to the large diaphragm).
 
I'd start with decent overheads, kick (close mic), and snare (close mic)... and do some test recording.
Define what you feel needs improved.
 
If you want more perceived size, a pair of well-placed room mics (assuming a good room) can really add dimension/life.
 

My current set-up consists of the following:
 
Bass Drum / Inside – D112
Snare / Top - SM57
Snare / Bottom - CAD E100 (ca. 1997)
Overheads (A-B configuration) Beyerdynamic M160 Ribbons
Toms - EV N/D468’s  
(Also in my mic collection but currently not on the drums are an RE20, a 414, an ATM25 and two SM81’s.)
 
The overheads go through Grace M501 pre’s and then through Elysia Xpressor.
The snare, bass drum and toms go through my old Mackie board.  The snare top and the bass drum outside then go through 2 dbx 160A compressors (I have 2).
 
I have experimented extensively over the years with bass drum mic placement using my different bass drum mics and settled on the D112 inside of the bass drum fairly close to the beater head and slightly off-axis.  Unfortunately, I was never able to get a tone that I liked from the industry standard RE20 (and I know that’s just me because I have no idea what I am doing).
 
Warning … shameless plug … here is an example of the D112 in combination with the Mojave and feel free to comment;-)
 
http://forum.cakewalk.com/Candy-m2864479.aspx
 
Wrt mic’ing the outside (i.e., front) of the bass drum, I am looking to mix a little bit of “tone” in with what the D112 is recording.  I think what is frustrating me isn’t so much the bass drum tone that the LDC mic is picking up but the bleed from the cymbals.  Not quite sure how to word this but, the sonic signature of the Mojave is very different from that of the M160 ribbons.  

For me, and I've gone through so many variations on a snare, including toying with a Royer R101 placed on the side of the snare. I've found that it really depends on the drummer and the drum, more than the mic for a snare. I find what's more important to me in close-mic'ing the snare is eliminating hi-hat bleed. This obviously makes the venerable SM-57 a prime candidate every time. I mix in the "sound" of the snare via overheads, using the SM-57 to just give me mostly attack, then mic underneath with either an Sennheiser e609 Silver, AT4040 (or 4047S/V), or an Audix D1 out-of-phase for a bit of the snare "chick" sound.
 
Point-being, I personally haven't had much luck with mic-ing a snare with a condensor without some extensive bleed, but underneath, it may be useful. Most of the drummers I record are hard-hitting, meaning they also treat their cymbals like a game of Whack-A-Mole.