He was highly successful as a composer and influential, especially on the development of imitative counterpoint, and numerous compositions of his survive.
In 1472 and 1473, Caron is mentioned by Loyset Compère alongside Guillaume Dufay, and stylistic similarities between the two composers suggests a relation.
In addition, one of Caron's masses appears in a Cambrai manuscript dated to 1472 or 1473, the year before Dufay's death there.
In Caron's setting the tune is transposed to Dorian mode and elaborated considerably; the upper voices often sing in two-part imitation.
One of his songs, Helas que pourra devenir, was extraordinarily famous, and was the second-most-widely distributed song in manuscript sources of the third quarter of the 15th century (De tous biens plaine, by Hayne van Ghizeghem, was the first).