I would use half the width of the vertical for kerning between most areas (magenta rectangles) then the full width of the vertical on either side of the
ls (orange rectangles).
If you want a more open and airy feeling, you might consider using the full width of the vertical for most areas and then double the width around the
I would also shorten the height of the lowercase
ls. The additional height of the
ls is throwing off the balance considerably.
Reducing the height of the
ls to match the hight of the uppercase letters does a great deal to regain the sense of balance. By doubling the space on either side of the
ls you add overall visual weight to those areas creating a better horizontal rhythm.
Kerning is all about visual rhythm horizontally. The goal is to let the eye flow fluidly between characters without any visual "hiccups" along the way. For thinner characters it's often a good idea to add a bit more kerning to create the perception of more area to the character. There is no absolute equation which works for every word or character combination.
It can often be helpful to view the type upside down:
top: default kerning, bottom: after my kerning
This allows you to get a better sense of how solid or loose things feel. In the top, original, image you can see how open the right side feels compared to the left prior to kerning. And this is in spite of the c-r-y combination which naturally creates more visual space between characters. After kerning, I'd probably alter the r and y combination further (It would take some experimentation to flesh this idea out). Perhaps shortening one of the arms on the y to tuck it slightly under the r and reduce the visual space on the left side a bit more.
In reality, for a logo I'd do much more. Just my personal opinion, but a logotype should involve much more than choosing a typeface and then applying kerning.