The best $25 you can spend is Mark Litwack's "Contracts for the
Film and Television Industry"

Since you aren't paying much you might want to rethink not
allowing the composer to retain the music copyright. In my
experience a composer writing for something like this will
insist on keeping the copyright. The editor is always a work
for hire, so you're fine there.

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

Hi Mary - there are also a number of sample composer agreements available on the web (if you need help tracking them down email me).

Definitely rethink your composer terms. Depending upon where and how you want to distribute / broadcast your documentaries, you will need to negotiate a number of 'licenses' from the composer. Without getting agreement on these 'rights' in writing you are unable to use the music legally... even if you have paid the composer to work on the soundtrack! This is something often overlooked on low-budget projects - and can destroy a distribution/broadcast deal when the distributor or broadcaster realises the legal issues involved.

There are ways you can help both you and your composer work together better - and ensure they get paid fairly for the work involved. Unless you are willing to pay a large sum of money, you shouldn't expect to own or retain the rights to their work. There are ways to keep a limited period of exclusivity for your project that also allows the composer to ultimately reuse his work at a later date and help recoup some of his costs.

If you need any help getting this sorted just email me.

Regards

Paul Curtis
Creative Director
Mango Reel ? Independent Music Consultancy
A full-service music licensing and supervision consultancy for TV, Film and Advertising www.mangoreel.com