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At a $100 price point, make and model isn't going to make any difference, as the build quality will vary so wildly that you can't guarantee anything without playing it.

So go play a whole bunch of them, and buy the one that talks to you.

1 3 5 is a perfectly legitimate chord progression.   In C, it would be C Em G.    When Russell talks about "outside" chords, he's talking about playing chords that don't fall into key.

In other words, when you are playing in a key, "inside" chords would only be made up of the 7 notes that are in that key.   For example, in C major, all chords would be constructed of some selection of the notes

C D E F G A B

Using the modal discussion above, you can construct triads and 7s from that using only those notes.

However, using Russell's example,  going from C (C E G) to E major (E G# B) you can see that G# doesn't exist in the key of C.   To be "inside,"  or "in key" when playing an E based chord, it would need to be minor (E G B).

More to Russell's point, there is absolutely *nothing* wrong with that.   It's just good to know what you're doing, and why.

It's not so much the tonic that changes, as that is simply identified by the name of the scale.  What changes is the interval pattern.   Just think of modes as shifting the two half step intervals up or down the scale, and you end up with different modes.

If we think of a major (Ionic) scale as the following interval pattern.

R W W H W W W H

Then Dorian mode would be

R W H W W H W W

Phrygian would be

R H W W H W W W

Etc.

Just as a note, the system you posted up is what the ancient greeks used.  They used micro-tonal scales, which is how you could come up with an VIII.  The modern diatonic scales we all know and love are it's direct descendant, which is why many of the modal names are shared.

That's an example of the complexity that can be derived from just a few simple rules.   At it's heart, everything there is derived from the major diatonic scale.

As a technical note, the modes are wrong.   There is no VIII (That's just the root again, and octave higher), and some of these modal names are duplicated or archaic. 

Ionian (a.k.a "major")                  I
Dorian                                        II             
Phrygian                                     III             
Lydian                                        IV
Myxolydian                                  V
Aolean (a.k.a. "minor")                VI
Locrian                                       VII

If you know that a major chord is made up of the I, III, and V notes of the major scale, you can use that exact same formula to construct triads from each of the modal scales.  This explains why some chords work over certain notes in certain keys.

For example, if you were to build a triad (1, 3, 5) out of D Dorian mode, you'd end up with D F A, which is a D minor chord.

All of the above comes from that.

x02340 Doesn't produce an A.    A major is A, C#, E

That fingering produces

x 0 2 3    4 0
   A E A# E E

If you were to play it x02234, it would produce A5, or a plain old A "power chord."  Still not a major chord, but closer that anything with the A and the A# in it.

Dude, you are a living lesson in chord substitution.  A role model to be emulated and admired.

You can also sub in a major 7 for the 4th, FYI.

I am curious as to why this question always comes up with B, though, and not any other barre.  C in the 2nd position, for example, or F# in the 1st.

Lawlz!

Yeah. Told most of 'em, too.  The program I want into is a dual masters.  JD (law) along with a Masters in International Business.  It's really the MIB that is the key to all the doors.  The JD just keeps people honest.   I have no desire to litigate, so I'll probably never take the Bar exam.

I sell very large, very expensive bits of code to your cell phone carrier.  Most boring job on Earth.  Fortunately for me, it feeds my guitar addiction, my motorcycle addiction, and keeps me fed pretty well.

It's based on scales.  Each note in the scale has chords that are associated with it.   The triads for the I, IV and V notes in a scale are all major chords.   The triads for the II, III, VI are all minor chords.   The triad for the VII is a diminished chord.

So, if you know the scales well, you can always find the IV and the V.   Simply play the major chord with that note as the root.

For example, in the key of G.

The G major scale is

G A B C D E F# G

The 1st, 4th and 5th notes of that scale are G, C and D.

So the chords you'd play are G major, C major, and D major.

Scales are at the root of everything.

There are five basic chord shapes.  C A G E and D.  You can play them anywhere on the neck.  When you play them "open,"  are playing them at the nut.  If you play them further down the neck, they are closed.

For example...

D major using the D shape, I'm sure you're familiar with.  This is playing an "open chord shape."

e-2
B-3
G-2
D-0
A-x
E-x

But how about F, using the D shape. Essentially, a barre chord.

e-5
B-6
G-5
D-3
A-x
E-x

Same chord shape, just moved up the neck a little.  This is a "closed D shape."

Make sense?