F#maj11 is F#, A#, C#, E#, G# and B. Its natural is the same note name as the 4th, while the major 3rd remains.
In a close voicing, sits one fret above . A sharp 11th raises that note one more fret; F#maj11 calls for the natural 11th.
Let both notes sound only when you want that close interval heard. For the sharp 11th instead, played without a 5th, the chord is .
Also written F#M11, F#Δ11 or F# major 11.

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 F#maj11 is to — the ii and the V of F# — and shares its third and seventh with , so the hand barely moves between them.
Hear it land:→→
In which keys. Every note of F#maj11 belongs to Eb minor (the ♭III) and F# major (the I, the tonic).
Contains F#maj11 and adds thirteenth.
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.