If the environment is noisy, I would be cycling through the bag trying to find the best microphone for the job.
A difficult environment restricts your options and usually increases the price and risk. See: the reason you're here.
If it's difficult enough, you leave standard microphones in the dust and pull out the dusty tricks.
There is a technique where you use two identical hand-held microphones and a special "Y" cable to get them into one XLR-Male for the recorder. The two microphones are wired out of phase—backwards—and you use them taped to each other with the heads together. If you did it right, they won't pick up any background noise at all and you use the microphone system by close-talking directly across one of the two heads. It's not HiFi, but it will get you a working track in high traffic or a noisy factory.
One of the rules is to get the microphone as close as possible to the voice. You may find that a correctly placed lavalier at 6-7 inches below the mouth will pick up a lot less room trash with a better quality voice than trying to struggle with a noise-cancelling microphone on a table five feet away.
Or not. There's no good way to predict what a difficult shoot is going to need. That's what makes it so darn much fun.
The lavalier in the pictures is the Radio Shack 3013, on the market for centuries. https://www.radioshack.com/collections/ ... e-clip-mic
It's a copy of an Audio Technica model. AT may have made it. Two problems. You need a non-standard adapter to get it plugged into an XLR and it's not particularly crisp. So it would have the opposite problem of your microphone. Slightly dull. It used to come with a tiny wind screen which worked really well for wind, but made the voice even more muffled. Anybody trying to boost crispness is going to run into microphone amplifier noise. Ffffffffffff.
Right about now, you decide the best way to get the performer into your studio.