Sound Scouting Gone Sideways: Real-World War Stories & Adaptations?

Hey everyone, David here, an editor always trying to learn more about the production side. The idea of doing a dedicated sound scout before locking in a location, separate from the visual scout, makes perfect sense to me in theory. We often prioritize the visual, then deal with audio problems later in the edit. I've tried to push for this on a few projects, usually smaller narratives where I'm closer to the process, or even on doc shoots with my FX9. We'll send someone with just a Zoom H6 and an MKH 50 to listen.

But let's be real, production is messy. What's been your most challenging experience trying to implement that 'ideal' sound scout plan, where the location you thought was sound-perfect turned into an audio nightmare on shoot day? And more importantly, how did you adapt on the fly when the detailed sound plan went completely sideways due to unexpected noise or access issues? I'm curious about the practical, on-the-ground solutions you came up with.