If you take a look at the lower right corner of each of the configuration diagrams I posted above, you'll see it states- "No Electronic Delay needed".
Some MMAD arrays do require electronic delay, others don't. When they do, the electronic delay indicated isn't going to correspond directly to what would be needed to compensate for the offset distance between microphones if one were aligning the waveforms of all channels for a wavefront arriving from a certain direction (say directly from the front). Electronic delay is instead used as another tool in addition to the pickup-pattern, spacing and angle between microphones to "steer" the edges of each SRA segment.
If you peruse the MMAD papers or the hyperlinked MMAD section of the site for the 5-microphone arrays you''ll come across some arrays that do require delay applied to some of the channels for the image linking to work properly.
First I'd try setting up the mics using the indicated physical locations.
Then after listening to that, I'd probably play around with delaying the front channels of those recordings on the computer by various amounts just to see what that does.
Then you might try moving the mics into a different arrangement, say with the pairs spaced less far apart, and listen to that without delay and then with it to "sorta/kinda" emulate them being spaced farther apart.
BUT! Know that electronic delay is not the same as the use of physical spacing, especially in these arrays. That's the "sorta/kinda". Delay is one-dimensional. These mic arrangements are two-dimensional. And the room is three-dimensional. Application of delay can only line things up for wavefront arrival from a single direction, and with that achieved the arrival time difference for a wavefront arriving from any other direction is not going to be aligned. What's more, the difference in alignment will increase as arrival shifts farther and farther off that axis until reaching a maximum for a wavefront arriving from the opposite direction, in which case the run-time delay from the physical spacing and the electronic delay will add together, doubling the timing offset instead of cancelling it out.
That geometric reality applies for any sound source bouncing sound around any non-echoic room, but I expect it to be especially relevant for pipe organ where the room is essentially an extension of the instrument, with wavefronts arriving from all directions and strong modal nodes distributed in 3-dimensions.
I do want to repeat that these arrays are actually intended for playback over quad, 5-channel etc, playback systems where the number of playback speakers equals the number of mic channels. As mentioned, I've found the arrays that I've adapted to my own use work really well for 2-channel stereo mixdowns too, which is why I'm suggesting they might be worth a try. But it also means the more significant front/back spacing between pairs in these particular arrays, which tend to be larger than what I'm using, throws things up in the air a bit too, in addition to the application of delay.
All I can say for sure is try it, play around with it, and please let us know how it works.
Oh yeah, almost forgot to discuss one important particular of the F6's channel delay function.. The F8 I use has the same capability. I was initially excited to play around with that during playback when mixing on the recorder itself, but unfortunately the delay can only be applied during recording and not during playback. That makes it far less ideal for experimentation when figuring all this stuff out in comparison to applying the delay on the computer. You'd have to make lots of recordings with different delay settings instead of just changing the delay afterward as desired. It would be applicable if after playing around with delaying things on the computer you determine that you definitely want to use a certain delay all on certain channels of whatever array you settle upon using regularly - and it would only be applicable to that particular array. In that case applying the delay while recording would conveniently eliminate the need to do that afterward.