C#maj13 is C#, E#, G#, B#, D# and A#. It has the same pitch name as a 6th, , above a major 7th and 9th.
Compared with , C#maj13 keeps the 6th and 9th, then adds the major 7th. That B is the difference a 6/9 chord does not have.
On guitar, root and 5th can be left out. Keep the 3rd, 7th, 9th, and 13th when the voicing needs its full identity.
Also written C#M13, C#Δ13 or C# major 13.

Drop the third voice from the top an octave instead. The wider gap skips a string, so the muted string is part of the shape.
That result, 3–R–5–7, is the shape usually meant by drop 3. Named by its bass note, as the inversions are here, it is the 1st inversion.
More familiar jazz shapes are drop 3 than drop 2.
How you get to it. The turn that lands on C#maj13 is to — the ii and the V of C# — and shares its third and seventh with , so the hand barely moves between them.
Hear it land:→→
In which keys. Every note of C#maj13 belongs to C# major (the I, the tonic), F minor (the ♭VI), Ab major (the IV, the subdominant) and Bb minor (the ♭III).
Contains C#maj13 and adds eleventh.
Contains C#maj13 and adds sharp eleventh.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.