I've banished Titebond from my shop; I don't care how many thousands of instruments are assembled with it; it's not the best choice these days. For a modern easy glue, we use LMI white glue; it dries closer to the hardness of hot hide glue and doesn't exhibit the cold creep that even original Titebond does. The cost is no big deal, and I like knowing that it's less likely that joints will move and fail over the years using it.
But for most of the critical body joints in acoustic instruments I've come back to hot hide glue. The issues of working with it quickly are greatly overstated, and if it's going to take you more than the liquid time of the stuff to glue a bridge on a uke, you probably need to get your act together better. We do ALL of the body glue joints on our Buddy Holly J-45 replicas with hot hide glue, and that's a lot more surface area than anything you deal with on a uke, and the timing is just no big deal. We do heat parts with a heat gun, and we're ready to go with no fumbling for clamps when we glue. I especially love it for top and back center seams because any excess glue just powders away when we thickness sand. HHG is very sanding friendly. Every guitar, uke, violin, etc. before about 1960 or so was assembled with HHG, and so was King Tut's furniture! A lot of the failures of old HHG are attributable to the fact that factories used to not particularly care about mixing the glue carefully and using fresh glue. It was common to just add more glue to the pot, pour in a bit of water to control the viscosity and just keep going day after day. They'd shut to glue pot off at night and let a crust form on the top, and then just fire it back up the next day. Funky...
Read up on Frank Ford's site
www.frets.com and don't be afraid of one of the best glues on the planet.
Another issue? You get bragging rights using HHG, and some companies like Martin get huge up-charges for custom guitars made with HHG. Tim Teel, one of the stalwarts in the R&D department at Martin told me that he thinks that the single biggest contributing factor to how good their "Authentic" series of guitars sound is the use of HHG. They are absolutely fantastic instruments...one of the best D-18s of any age that I've ever played was a brand new one of that series. All HHG construction. Tim has had enough Martins under his fingertips to know what makes a difference and what doesn't. I trust his judgment as much as anyone I know in the guitar biz.
Just because lots of people have used Titebond does not make it the best choice. You can move forward or backward to a better glue...forward to LMI, backward to HHG.
And don't think I don't like modern adhesives. I use WEST epoxy for most joints in neck construction because it doesn't involve adding water to the glue line, hence the glued up parts are more dimensionally stable. I can take a fingerboard off if I need to...no problem. And I love CA glue for a number of things including gluing frets in. But for acoustic body construction, HHG is the stuff....And it just isn't that big a deal to use...