Right, except the same levels of worksmanship went into the subsequent repairs that worked fine, and all later repairs by half a dozen acquaintances who agree that Tite-Bond II and III are superior to the original formula. Speaking of hot autos and hot storage, I've never had an instrument de-glue in a hot trunk, and I've lived in the hottest (Vegas, Death Valley) and most humid (Swamps, Marshland, Upper Midwest, Gulf Coast) areas, and had stored all sorts of instruments in less than favorable conditions. Here's a case where two guitars had several failed glue joints: had a classical guitar and a Flamenco guitar made for me (by a notable luthier) in Madrid, Spain. The classical guitar developed open glue joints in several places along the seams of the front and back of the instrument where the top and back meets the sides after about a month in the States. Took it to a respected classical guitar luthier and repairman in L.A. ... first thing he said was, "Madrid is pretty dry, you're going to get this problem if you live in a humid place. Keep the guitar inside and watch the hygrometer. Keep it at no more than 50% humidity." OK, well that worked until I sold it. He did do a beautiful job re-gluing it. The Flamenco fared better until it experienced a flood ... it didn't get wet, it was above the water line, but the room it was in flooded, and when I opened the dry but moist air-exposed case, there were glue separations just like the classical guitar had. Never fixed that one ... it didn't affect the sound. I suggest that if you have to soften glue joints on your work bench under controlled conditions in a predictable manner, the process is different than the mishaps and misadventures I've experienced. But, I don't want to argue with experts ... I just know what I've experienced and that I'll rely on glues that have never let me down in spite of my allegedly dubious skills as an amateur repairman.