Well, you can do it the easy way, or you can get as complicated as you'd like. There are no shortage of tricks for exploding snares, toms, kiks, whatever... I'm not Thrill or e-cue, but these are some fairly well-known techniques:
Method 1: Great drummer, great snare, tuned and played perfectly and with authority in a lovely, lively room. Put a mic somewhere around the snare, mix with the rest of the drum mics, maybe add a little hall reverb to the snare and enjoy. This method really works. Just not everytime.
OTOH
Method 2: All (or as many as possible) of the above + condenser (in phase) with 57 (or insert favorite dynamic mic here), + shotgun mic pointing at snare, or LD OH pointing at snare, or ribbon mic pointing at snare, ALL placed for optimal phase relationships.
Record
At mix, carefully contemplate exactly what aspects of the snare need emphasis/deemphasis in the song.
Mult snr tops.
Run one thru SPL TD w/no sustain and max attack. Run it through again, 2, 3, however many times it takes to get brutal. This is your 'stick impact' snare track.
Run another top mic thru a Sansamp, Marshall stack, Triple Rec or whatever for a distorted fat, low mid thump. Delay this by 10-30 ms. This is your low boom snare track.
Run bottom mic thru low & hi PFs, etching out top and bottom. Delay by 15-35 ms. this is your buzzzz snare track. You can also distort this if you like.
Run shotgun or ribbon spot snare thru low & hi PFs, etching out top and bottom. This is your distant snare track.
Set up gates for snare tracks. Key all gates off of (HP'd and LP'd) signal from either the top dynamic or condenser. Adjust each gate properly, so that no portion of the attack is lost, but gate opens and closes appropriately for each track.
Create busses for snare. 'Nuke' all snare tracks (blended appropriately) thru RF Boiler/1176/Distressor(S) (whatever) with med fast attack, fast release settings. Adjust to allow the initial transient thru, but quickly clamping down and bringing up the decay (as fast as possible) to hold the body or sustain. EQ & blend to taste.
Create buss for drums. Run some combination(s) of kik, snares, toms, room(s) thru TG1/SSL/C2 (whatever), with settings similar to the snare comp busses. EQ appropriately. Blend to taste.
Create auxs. On one aux, send bottom snare to room type reverb, predelayed from 10-30ms for buzzz sustain. EQ & Blend to taste.
On another aux, send snares and toms (possibly room(s)) to room/plate/hall type reverb of choice, predelayed from 6-25ms (so drums don't step back in mix space) to add body, depth, and space. Adjust decay so that reverb ends before the next kik is struck (on average). EQ and blend to taste.
Blah, blah, blah, etc. This should be enough to keep you busy for awhile!
The important thing with all these busses and mults, is that you ABSOLUTELY MUST retain proper phase/polarity relationships for it to work. Delay compensation (if dealing w/digital medium) is of the utmost priority. If there are delays (other than the intentional ones), they will DESTROY the impact you're creating using this method.
Have fun.