Enhanced/Dual Powered
Willem EPROM Programmer
User Guide Â
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Main Board / Cables
Main Board PCB3.5
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Main Board PCB4E
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Main Board PCB5.0
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Main Board PCB5.5C
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Parallel Data Cable (Printer extension cable, with male-female 25 pin connector, and pin to pin through) |
A-A type USB cable(for power) |
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Optional Items:
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ATMELÂ 89 Adapter |
ATMEL PLCC 44 Adapter |
TSOP 48 Adapter |
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FWH/HUB PLCC32Adapter |
PLCC32 Adapter |
SOIC Adapter(Simplified) |
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On-Board |
On-Board |
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AC or DC Power Adapter (9V or 12V, 200mA) |
SOIC Adapter(Professional) |
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The central conflict of Princesses to the Rescue begins with a literal inversion of the classic fairy tale. When Princess Sofia’s twin brother, James, and her mentor, the dashing Prince Hugo, are captured by the villainous Miss Nettle while attempting a traditional "knight’s quest," the kingdom of Enchancia faces a dilemma. The logical heroes—the male princes and knights—have failed. Instead of waiting for another rescue party to form, Sofia takes the initiative. She assembles a team consisting of her fellow princesses from the royal preparatory academy: the spirited Amber, the athletic Jun, the animal-speaking Ruby, and the bookish Vivian. Their goal is not to win a ballroom dance or a royal competition, but to execute a daring prison break from a floating fortress.
Furthermore, Princesses to the Rescue critiques the romanticized notion of the lone hero. Unlike the traditional knight who quests alone or with a bumbling squire, Sofia’s strength lies in her community. The film champions collaborative heroism. The princesses succeed not because one of them is the strongest or bravest, but because they learn to trust each other’s distinct talents. This is particularly evident in the character arc of Princess Amber, who begins the story obsessed with her image and the "perks" of royalty. Through the gritty reality of the rescue—crawling through dungeons and facing a real villain—Amber learns that true princess power is not about being admired, but about being dependable. Her decision to risk her own safety to hold off Miss Nettle so Sofia can free the prisoners marks her transformation from a status-seeker into a true leader. sofia the first princesses to the rescue
In the pantheon of children’s animated media, the image of a princess has long been associated with passive grace, waiting for a prince, or singing to forest animals. However, the Disney Junior series Sofia the First actively worked to dismantle these tropes, and its feature-length film, Sofia the First: Princesses to the Rescue (2014), serves as a definitive manifesto for a new kind of heroine. The film cleverly uses the tension between traditional royal expectations and genuine moral courage to argue that true leadership—and true friendship—requires action, sacrifice, and a willingness to defy convention. By placing a group of princesses in roles typically reserved for knights, the narrative posits that heroism is not a matter of gender or title, but of character. The central conflict of Princesses to the Rescue
In conclusion, Sofia the First: Princesses to the Rescue is far more than a simple children’s adventure. It is a thoughtful, empowering narrative that rewrites the rules of the fairy tale genre. By moving the action from the ballroom to the battlements and swapping the damsel in distress for a damsel who kicks down the door, the film delivers a resonant message for its young audience: heroism is not defined by a sword, a shield, or a crown, but by the courage to act when others hesitate. It teaches that the most valuable royal quality is not the ability to look like a princess, but to act like a protector—proving that sometimes, the best knights in shining armor are the ones wearing tiaras. Instead of waiting for another rescue party to
The film’s primary achievement is its systematic deconstruction of gendered expectations. When Sofia first suggests the rescue mission, she is met with disbelief. Princesses, the adults argue, are meant to be "rescued, not rescuers." The film challenges this notion by allowing each princess to contribute using skills that are often dismissed as frivolous or purely ornamental. Amber uses her knowledge of royal etiquette and fashion to create a distraction and a disguise. Ruby communicates with a giant raven to provide aerial reconnaissance. Vivian, often shy and obsessed with fairy tales, reveals that her extensive reading has given her the blueprint for navigating traps. In doing so, the film argues that a princess’s traditional education—grace, diplomacy, knowledge of stories, and care for animals—is not a weakness but a unique toolkit for leadership and problem-solving.
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Hardware Installation & Configuration
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Installation Steps
         (Note: the LPT port of PC MUST set to ECP or ECP+EPP during BIOS setup. To enter the BIOS setting mode, you need press "Del" key or "F1" key during the computer selftest, which is the moment of computer just power up.)  Software Version To Use | |||
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         The software interface:  | |||
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 Hardware
Check  | |||
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 PCB3.5/PCB4E
 PCB5.0
 PCB5.5C Â
Note: the Vcc setting jumper only has effect when you are using AC adaptor as power source. For the USB power only 5V Vcc is available. For the PCB5.5C, set DIP steps: 1. press DIP Set button twice to check current DIP bit position. Then set it again for ON or OFF. 2. press DIP Bit shift button to shift the DIP bit position to where need to set. And then press DIP Set button twice to check current DIP bit position. Then set it again for ON or OFF. 3. Repeat those steps till all DIP bit ae set same as software indicated. For PCB5.5C voltage and Special chip selection: 1. Put back the safety jumper. 2. Press the voltage button and hold for 1 second, the voltage LED should move to next. Repeat till desired voltage LED light up. 3. Press the chip selection button and hold for 1 second, the chip LED should move to next. Repeat till desired LED light up. 4. Remove the safety jumper to lock the selected voltage and chip selection  DIP Switch (PCB3.5, PCB5.0)
When programming one chip, follow the program prompt to set DIP switch .  |
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The central conflict of Princesses to the Rescue begins with a literal inversion of the classic fairy tale. When Princess Sofia’s twin brother, James, and her mentor, the dashing Prince Hugo, are captured by the villainous Miss Nettle while attempting a traditional "knight’s quest," the kingdom of Enchancia faces a dilemma. The logical heroes—the male princes and knights—have failed. Instead of waiting for another rescue party to form, Sofia takes the initiative. She assembles a team consisting of her fellow princesses from the royal preparatory academy: the spirited Amber, the athletic Jun, the animal-speaking Ruby, and the bookish Vivian. Their goal is not to win a ballroom dance or a royal competition, but to execute a daring prison break from a floating fortress.
Furthermore, Princesses to the Rescue critiques the romanticized notion of the lone hero. Unlike the traditional knight who quests alone or with a bumbling squire, Sofia’s strength lies in her community. The film champions collaborative heroism. The princesses succeed not because one of them is the strongest or bravest, but because they learn to trust each other’s distinct talents. This is particularly evident in the character arc of Princess Amber, who begins the story obsessed with her image and the "perks" of royalty. Through the gritty reality of the rescue—crawling through dungeons and facing a real villain—Amber learns that true princess power is not about being admired, but about being dependable. Her decision to risk her own safety to hold off Miss Nettle so Sofia can free the prisoners marks her transformation from a status-seeker into a true leader.
In the pantheon of children’s animated media, the image of a princess has long been associated with passive grace, waiting for a prince, or singing to forest animals. However, the Disney Junior series Sofia the First actively worked to dismantle these tropes, and its feature-length film, Sofia the First: Princesses to the Rescue (2014), serves as a definitive manifesto for a new kind of heroine. The film cleverly uses the tension between traditional royal expectations and genuine moral courage to argue that true leadership—and true friendship—requires action, sacrifice, and a willingness to defy convention. By placing a group of princesses in roles typically reserved for knights, the narrative posits that heroism is not a matter of gender or title, but of character.
In conclusion, Sofia the First: Princesses to the Rescue is far more than a simple children’s adventure. It is a thoughtful, empowering narrative that rewrites the rules of the fairy tale genre. By moving the action from the ballroom to the battlements and swapping the damsel in distress for a damsel who kicks down the door, the film delivers a resonant message for its young audience: heroism is not defined by a sword, a shield, or a crown, but by the courage to act when others hesitate. It teaches that the most valuable royal quality is not the ability to look like a princess, but to act like a protector—proving that sometimes, the best knights in shining armor are the ones wearing tiaras.
The film’s primary achievement is its systematic deconstruction of gendered expectations. When Sofia first suggests the rescue mission, she is met with disbelief. Princesses, the adults argue, are meant to be "rescued, not rescuers." The film challenges this notion by allowing each princess to contribute using skills that are often dismissed as frivolous or purely ornamental. Amber uses her knowledge of royal etiquette and fashion to create a distraction and a disguise. Ruby communicates with a giant raven to provide aerial reconnaissance. Vivian, often shy and obsessed with fairy tales, reveals that her extensive reading has given her the blueprint for navigating traps. In doing so, the film argues that a princess’s traditional education—grace, diplomacy, knowledge of stories, and care for animals—is not a weakness but a unique toolkit for leadership and problem-solving.
 
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