FmMaj7b5 is F, Ab, Cb and E — with the seventh raised a semitone.
It sounds brittle and impossible to mistake. Scarce enough that most players meet it as a passing sonority rather than as a chord they chose.
Rare tonic — a half-diminished chord with its seventh raised instead.
Also written FmM7b5 or Fm(maj7)b5.

Every note of FmMaj7b5 is in F diminished.
Each of those is a page: the scale across the neck, and the chords it harmonises into — which is where FmMaj7b5 sits in it. Every scale.
Change one note of FmMaj7b5 and you have (drop the major seventh), (the major seventh becomes the diminished seventh), (the minor third becomes the major third), (the major seventh becomes the flat seventh) or (the flat fifth becomes the fifth).
FmMaj7b5 is a diminished chord — root, minor third, flat fifth. Diminished and half-diminished chords on every root.
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.