For me, because my hand has a high arch and I completely float with no contact on the top of the guitar and my fingers also are bunched in a loose fist (in a Raphael Fays type of fashion?) , I have an angle of attack that is impossible to use with a normal “pointier” pick. For me, a regular pick is not any better than using a pencil to play with. Imagine how a pencil would “catch” on the guitar strings, especially when playing fast. Since sometimes I need to pick fast with a trill, I cannot allow my pick to “catch” on a string.
The dull Wegen also gives me the ability to play without worrying too much about how deep my attack is on the string. I am able to push the pick deeper when playing quickly (something i could never do with a normal pick without breaking a string) and obviously this gives me louder sound when I do so.
So basically, after I have done a terrible job of explaining this, the pick allows me to get more volume during very fast playing because I can attack deeper. I get, in other words, better volume dynamics with this pick, and also a slightly different tone which helps tone down an already very bright sounding guitar.

I thought the following essay was important for Django players because, in playing simple triad chords a majority of the time, we should have a good understanding of why the root, 3rd, and 5th are so important, and also how we are able to use those tones fundamentally in playing jazz. This essay was originally posted by Anomandaris in the Harmony Central forums in June, 2002.

While everyone else in the world was at Samois, I kept myself busy. I got together with Gadjo Djazz guys one day and jammed with them for 3 hours AND for the first time ever (due to my hard work in the last few months) I sat through the whole jam without using a single chart. It was much much more fun that way and I found that listening to the other guys solo and playing with ornaments was much more fun than concentrating on a chart. Finally, I am free!
Also, I went to see the new “Gypsy Cab” band play here in Portland at the County Cork english pub and they were fantastic. I think you would really appreciate them because they stick tightly to the genre. They are Jason Okamoto and Brian Darby on guitar along with a great fiddle and bass player. They are playing every thursday now and I will probably go see them quite often.
I also had a great guitar lesson with a gypsy jazz/flamenco player named Toshi Onizuka. He specializes also in giving “palmas” (rhythmic hand-clapping) lessons. I think he picked up real fast that my sense of rhythm wasn’t very developed and we spent most of the lesson playing with foot tapping, hand clapping, metronome stuff and other things. The important thing that I learned from him is that I need to tap my foot to a slower “sub-rhythm” because it seems that it will help me not stray off the tempo as easily. When your “sub-rhythm” is rapid, you have more room to vary tempo and a slower beat will anchor you. He also showed me a couple of clapping patterns that I really had trouble with that I plan on working on. We talked a lot about downbeats and latin rhythms.
In addition, Toshi taught me a couple new arpeggios, which helps a lot. Now i have a ton of stuff to work on over the next month. It will keep me very busy I think.