This is a very simple way of comping a chord progression exclusivly with triads in spread voicings.

A spread triad is created by octavating the middle note of a close triad, so C E G becomes C G E. The same for the inversions, E G C becomes E C G and G C E becomes G E C.

close triad     spread triad
C E G            C G E
E G C            E C G
G C E            G E C

First learn the different ways to play spread triads on the fretboard, many voicings have two or three ways they can be fingered on the guitar, see my pdf.

I recommend to play up and down the spread triads through all inversions over one chord. Do this in many different keys.

For comping a standard progression I limited myself to major, minor and diminished spread triads. I didn´t include the augmented triads because for me it works as a sort of alteration (dominant 7/b13) and I wanted to keep a very basic sound without any options and alterations.

So for all major 7th (also major 7/9/13 and even maj7#11) AND dominant 7 chords (also dom7/9/13 or b9/b13 or any kind of alteration) I use the basic major triad in spread voicing.
All minor 7th chords (min7/9/11/13) become the basic min spread triad.
The diminished spread triad serves for halfdiminished (mi7/b5) AND diminished 7th chords. The basic triad for both chords is a diminished, the difference between halfdiminished and diminished is the 7th.

The nice thing about these spread triads is the open, clear, classical, almost church-like character. Especially when you are able to play more than one inversion per bar. Try to play two adjacent inversions on beat 1 and 3 or even four inversions on every beat of the bar.

See my demonstration how you could use basic spread triads on `Alone together´ for comping. In real life situations I love to use those voicings together with all kinds of other chordal concepts in order to create contrast.

Here´s the pdf