^The not at all simple alternate answer which potentially could help adjust for being off-center has to do with adjusting the microphone configuration in combination with rotating the stand. It's probably far more trouble than it's worth, would be hard to do precisely in the field, and is not something most tapers would want to try, but is interesting to me technically. I won't go into it here in too much depth, but it has to do with adjusting the angle of each microphone so they are no longer in a symmetrical arrangement with the center axis of the microphone array. Essentially, one microphone is moved forwardof the other, and that accomplishes something similar to the delay thing I described previously, "at the microphone array" itself.
That's based on the work of Michael Williams which explores the inter-relationship between pickup pattern, angle, spacing and position of a pair of microphones. It's how he goes about "linking" multiple microphone pairs together to form multichannel surround recording arrays which are capable of seamless playback imaging between across each microphone/speaker pair sector, without gaps or overlaps. His papers on Multi-Microphone Array Design (MMAD) explain this in depth, but are more technical than most tapers here will care to get into.
However, his "Stereo Zoom" paper is the more basic introduction to all that, and explains the simpler relationship between "normal, always symmetrical" stereo pairs of microphones. I highly recommended it to any taper who would like to understand what is really going on with ORTF, DIN, NOS, X/Y, A-B, etc, and how all those conventional mic setups are simply points along a continuum of microphone-pattern-vs-angle-vs-spacing. Those standard mic setups are easily repeatable and tend to work well in a general sense, and the Stereo Zoom explains partly why that is, some of the differences between them, and how they can be adapted to help compensate for different recording situations.